000 04268cam a2200505Ii 4500
001 BRILL9789042026414
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007 cr un uuuua
008 090720s2009 ne sb 001 0 eng d
020 _a9789042026414
_q(electronic book)
020 _z9789042026407
_q(print)
024 7 _a10.1163/9789042026414
_2DOI
035 _a(OCoLC)432428679
040 _aNL-LeKB
_cNL-LeKB
_erda
050 4 _aPN1995.9.A8
_bB59 2009
072 7 _aGT
_2bicssc
072 7 _aPOL000000
_2bisacsh
082 0 4 _a808.823
100 1 _aBlassnigg, Martha.
245 1 0 _aTime, memory, consciousness and the cinema experience :
_brevisiting ideas on matter and spirit /
_cMartha Blassnigg.
264 1 _aAmsterdam ;
_aNew York, N.Y. :
_bRodopi,
_c2009.
300 _a1 online resource (254 pages)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_2rdacarrier
490 1 _aConsciousness, literature & the arts ;
_v21
504 _aIncludes bibliographical references (p. 205-242) and index.
505 0 0 _aPreliminary Material -- Introduction -- Wings of Time: an Associative Prelude -- Bergson’s Philosophy as Interdisciplinary Nexus with Catalytic Impact: Time, Memory, Consciousness and the Relation between ‘Spirit’ (l’Esprit) and ‘Matter’ (Matière) -- The Analysis and Synthesis of Movement in Relation to Time: Revisiting Étienne-Jules Marey’s Work in a Virtual Dialogue with the Philosophy of Henri Bergson -- The Subordination of Time to Movement: From the Eye-Brain Model to the Mind-Consciousness Correlate -- The ‘Image in Motion’ Beyond the ‘Cinematographical Tendency’ of the Intellect: Dynamism, Intuition and Consciousness in Warburg, Marey and Bergson -- Time, Memory, Consciousness: Resituating the ‘Spiritual’ Dimension in the Perceptual Processes of the Spectators -- Bibliography -- Index.
506 _aAvailable to subscribing member institutions only.
520 _aIn this book cinema spectators are presented as ‘observing participants’, that is, agents who take part in their own perceptual processes. It takes experience into the centre of its investigation to propose the spectators’ active participation. It applies this to understanding cinema, from its outset, as a philosophical dispositif . To this end, the book explores crucial interconnections between the various constituencies that shaped moving image technologies and their reception at the nexus of science, art and popular culture at the end of the 19th century and some of the prevailing concerns about time, movement, memory and consciousness. It discusses in particular the interrelations between the works by the philosopher Henri Bergson, the physiologist Étienne-Jules Marey and the art-historian Aby Warburg’s intervention with the Mnemosyne Atlas . Bergson’s main themes germane to these concerns are discussed in detail in order to show how, during the perceptual processes, the seemingly contradictory tendencies of the mind — intellect and intuition — can help us understand the so-called ‘spiritual’ dimension of the emerging cinema from the perspective of the spectators’ cognitive engagement. This perspective invites us to include the experiential qualities of mental processes, such as the interaction between affect, thought and action and the interrelation between memory, perception and consciousness in the study of audio-visual media and elsewhere.
650 0 _aMotion picture audiences.
650 0 _aTime in motion pictures.
650 0 _aMemory in motion pictures.
650 0 _aConsciousness.
650 7 _aConsciousness.
_2fast
650 7 _aMemory in motion pictures.
_2fast
650 7 _aMotion picture audiences.
_2fast
650 7 _aTime in motion pictures.
_2fast
776 0 8 _iPrint version:
_tTime, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit
_dLeiden, Boston : Brill | Rodopi, 2009,
_z9789042026407
830 0 _aConsciousness, Literature and the Arts
_v21.
830 0 _aLiterature and Cultural Studies E-Books Online, Collection 2009, ISBN: 9789004357945.
856 4 _zDOI:
_uhttp://dx.doi.org/10.1163/9789042026414
999 _c28164
_d28164