MARC Record from marc_columbia

LEADER: 04036cam a2200433 i 4500
001 13899667
005 20190610102028.0
008 181018s2019 nyua b 001 0 eng c
010 $a 2018042992
024 $a40029136584
035 $a(OCoLC)on1077575078
040 $aLBSOR/DLC$beng$erda$cDLC$dOCLCO$dOCLCF$dYDX
020 $a9780190218430$qhardcover$qalkaline paper
020 $a0190218436$qhardcover$qalkaline paper
020 $a9780190218447$qpaperback$qalkaline paper
020 $a0190218444$qpaperback$qalkaline paper
035 $a(OCoLC)1077575078
042 $apcc
050 00 $aB105.I47$bM675 2019
082 00 $a302.2/26$223
245 04 $aThe moving eye :$bfilm, television, architecture, visual art, and the modern /$cedited by Edward Dimendberg.
264 1 $aNew York :$bOxford University Press,$c[2019]
300 $aviii, 170 pages ;$c26 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
520 $a"Once the province of film and media scholars, today the moving image is of broad concern to historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations which no longer presuppose a fixed viewer, urban space becomes envisioned and planned through "fly throughs," and technologies such as GPS add data to the experience of travel, moving images have captured the attention of geographers and scholars across the humanities and social sciences. Their practice of "mobility studies" is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952-2009) was among the first practitioners of visual studies to theorize the experience of vision in motion. Although widely influential beyond her own discipline, Friedberg's work has never been the subject of an extended study. The Moving Eye: Film, Television, Architecture, Visual Art and the Modern gathers together essays by renowned thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. Ranging from early cinema, to works by Le Corbusier, Sergei Eisenstein, Gordon Matta-Clark, and Pierre Huyghe, to theories of the image in motion informed by psychoanalysis, theories of the public sphere, and animal studies, each of the nine essays in the book advances the lines of inquiry commenced by Friedberg"--$cProvided by publisher.
504 $aIncludes bibliographical references and index.
505 0 $aMoving through Friedberg's properly adjusted virtual window / Tom Gunning -- Psychoanalysis discovers film theory: Anne Friedberg and close up / Christa Blümlinger -- Nicholas Ray's we can't go home again: multiple windows in a delirious time machine / Patricia Pisters -- The Eisenstein effect: architecture and narrative montage in Eisenstein and Le Corbusier / Anthony Vidler -- Max Ophuls and instant messaging: reframing cinema and publicness / Miriam Hansen -- The open box: Umberto Eco, Achille Castiglioni and the architecture of television / Sylvia Lavin -- Windows on a broken world: Gordon Matta-Clark's photographs of public housing in New York / Gwendolyn Owens -- Sites of screening: cinema, museum, and the art of projection / Giuliana Bruno -- Humans becoming animals: on sensorimotor affection / Gertrud Koch.
600 10 $aFriedberg, Anne.
650 0 $aImage (Philosophy)
650 0 $aVisualization.
650 0 $aMovement, Aesthetics of.
650 7 $aImage (Philosophy)$2fast$0(OCoLC)fst00967475
650 7 $aMovement, Aesthetics of.$2fast$0(OCoLC)fst01028521
650 7 $aVisualization.$2fast$0(OCoLC)fst01168121
700 1 $aDimendberg, Edward,$eeditor.
776 08 $iOnline version:$tMoving eye$dNew York : Oxford University Press, [2019]$z9780190218454$w(DLC) 2018057133
852 00 $bglx$hB105.I47$iM675 2019