映画の静と動（全２巻）<br>Stillmoving (Thinking Media)

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映画の静と動（全２巻）
Stillmoving (Thinking Media)

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  • 言語 ENG
  • 商品コード 9798765129012

Full Description

This two-volume work explores a static long take, termed a still Einstellung, as well as coexistent still and moving imagery by Lumière, Welles and the MPEG compression codec, to contemplate the kind of image it generates.

Jon Inge Faldalen's volumes are a theoretical exploration of the concept of Einstellung. The author keeps the original German term, capitalizing on the ambiguity inherent in this type of image phenomenon; in this case, the long take, or at least a continuous unbroken take, effected by an immobile camera whose captured content could potentially contain perceptible movements produced by entities within the composition framed. The author embraces neologisms in order to capture specific aesthetic-technical phenomena more accurately than has hitherto been possible.

Stillmoving I is a theoretical exploration of the concept of Einstellung. The author asks whether this image is a still image, or a moving image, or both, or neither, or, finally, what Faldalen terms stillmoving. Underlying these deliberations is the question of how cinema represents or mediates stillness. It unfolds over three chapters that examine the concept of still Einstellung in relation to slow cinema scholarship throughout the last two decades, in relation to approaches referred to as stillmoving scholarship, and in relation to reflections and shadows.

Stillmoving II continues the work of the first volume, exploring the concept of Einstellung through a small set of specific case studies, including Louis Lumière's Quai de l'Archevêché (Lumière operator, 1896), André Bazin's analysis of the kitchen scene in The Magnificent Ambersons (Orson Welles, 1942), and James Benning's Stemple Pass (2012), as well as what the author calls "digital imagenesis," which concerns the MPEG compression codec.

Contents

Stillmoving I
Acknowledgments
Ten theses learnt from a foundational figure of style

Introduction: Still Einstellung
Interlude: Einstellung
1. STILL STILL AT STAKE: FROM SLOW CINEMAS TO A STILL CINEMA
Still Einstellung In Slow Cinema Scholarship (2000-2020) - And What Is Still At Stake?
2. A BOTH/NEITHER BENEATH BETWEENS? FROM STILL MOVING TO STILLMOVING (Part 1)
Still Einstellung In Still Moving Scholarship (2000-2020) - And What Is Still At Stake?
3. STILL EINSTELLUNG: STILLMOVING IMAGENESIS (DISCOURSE, 2014) A First Contribution

Index

Stillmoving II
Acknowledgements
Foreword: Disarming of the Eye—And Camera
(Still) Einstellung And/As Ethics Of Recognition

1. A BOTH/NEITHER BENEATH BETWEENS? FROM STILL MOVING TO STILLMOVING (Part 2)
Still Einstellung In Still moving Scholarship (2011-2020) - And What Is Still At Stake?
2. THE FIRST EINSTELLUNG OF FILM WAS STILL
Louis Lumière And Film Frames That "Coincide Exactly" And Are "Rigorously Identical"
Case Study I: Quai de l'Archevêché (Lumière Operator, 1896) Early Contemplative Film
3. AS IF SWADDLING STILLNESS: WHAT CINEMA IS AS WELL
Case study II: The Magnificent Ambersons (Orson Welles, 1942) André Bazin And "The Immobility Of The Sequence Shot"
The Magnificent Ambersons Beyond Bazin

Conclusion: STILLMOVING - A DIFFERENT KIND OF IMAGE
Case Study III: The MPEG Compression Codec

Index