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While agreeing that the "digitization" of the cinema is inevitable, and even a necessary adjustment to the economic realities of end-of-the-millennium cinema production, Dixon argues that it represents a fundamental representational shift in the relationship between the spectator and the image-production apparatus of the cinematograph. More than ever all visual input is merely raw material which is then subjected to digital "polishing" and "tweaking" until it attains a sheen of artificial splendor that is utterly removed from the photographic reproduction of the object and/or person originally photographed.
Considers the ephemeral nature of the cinematic experience as we now apprehend it, and examines the ways in which technological advances in film and moving image production have changed this experience over the course of the last thirty-odd years.
The Eye's Mind significantly alters our understanding of modernist literature by showing how changing visual discourses, techniques, and technologies affected the novels of that period. In readings that bring philosophies of vision into dialogue with photography and film as well as the methods of observation used by the social sciences, Karen Jacobs identifies distinctly modernist kinds of observers and visual relationships. This important reconception of modernism draws upon American, British, and French literary and extra-literary materials from the period 1900-1955. These texts share a sense of crisis about vision's capacity for violence and its inability to deliver reliable knowledge. Jacobs looks closely at the ways in which historical understandings of race and gender inflected visual relations in the modernist novel. She shows how modernist writers, increasingly aware of the body behind the neutral lens of the observer, used diverse strategies to displace embodiment onto those "others" historically perceived as cultural bodies in order to reimagine for themselves or their characters a "purified" gaze. The Eye's Mind addresses works by such high modernists as Vladimir Nabokov, Virginia Woolf, and (more distantly) Ralph Ellison and Maurice Blanchot, as well as those by Henry James, Zora Neale Hurston, and Nathanael West which have been tentatively placed in the modernist canon although they forgo the full-blown experimental techniques often seen as synonymous with literary modernism. Jacobs reframes fundamental debates about modernist aesthetic practices by demonstrating how much those practices are indebted to the changing visual cultures of the twentieth century.
Transparency has become a new norm. States, international organizations, and even private businesses have sought to bolster their legitimacy by invoking transparency in their activities. This growth in popularity was made possible through two interconnected trends: the idea that transparency is inherently good, and that the actual meaning of the term is becoming harder and harder to pin down. Thus far, this has remained undertheorized. The Transparency Paradox is an insightful account of the hidden logic of the ideal of transparency and its legal manifestations. It shows how transparency is a covertly conflicted ideal. The book argues that counter to popular understanding, truth and legitimacy cannot but form a problematic trade-off in transparency practices.
This Volume 1 of a two-volume work is the first textbook to offer a practical yet comprehensive approach to clinical ophthalmology in wild and exotic invertebrates, fishes, amphibia, reptiles, and birds. A phylogenetic approach is used to introduce the ecology and importance of vision across all creatures great and small before focusing on both the diverse aspects of comparative anatomy and clinical management of ocular disease from one species group to the next. Edited by three of the most esteemed authorities in exotic animal ophthalmology, this two-volume work is separated into non-mammalian species (Volume 1: Invertebrates, Fishes, Amphibians, Reptiles, and Birds) and Mammals (Volume 2: Mammals). Wild and Exotic Animal Ophthalmology, Volumes 1 and 2 is an essential collection for veterinary ophthalmologists and other veterinary practitioners working with wild and exotic animals.
The Exploding Eye explores the work of lesser-known American experimental filmmakers whose work has been excluded from the dominant film canon. Although the works of such artists as Michael Snow, Stan Brakhage, Bruce Conner, Robert Nelson, and Maya Deren are well-known to the contemporary scholar of independent cinema, there is an entire body of work created in the American experimental cinema that has been overlooked, work of considerable beauty and influence that was enthusiastically received when first released and that is still available for viewing today, awaiting long-overdue rediscovery. Featuring more than seventy rare stills and complete information on the films and filmmakers covered, The Exploding Eye offers a fresh vision of American experimental film for critics, scholars, and the general reader.
This book investigates the perception and appropriation of places across intervals of time and culture. The main focus is on bringing together fresh empirical research and animating it with theoretical sophistication.
From the Gothic to the contemporary, glass has transformed the structural, formal and philosophical principles of artchitecture. In The Glass State, Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1988 as part of Francois Mitterand's program of Grands Projets. The Grands Projets provide a rare opportunity to study a finite set of buidings constructed of similar materials, in the same time period, in a specific urban landscape, and with related ideological missions.