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Cinema's bodily illusions : flying, floating, and hallucinating

Author: Scott C Richmond
Publisher: Minneapolis : University of Minnesota Press, [2016] ©2016
Edition/Format:   Print book : State or province government publication : EnglishView all editions and formats
Summary:
"Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, 'Cinema's Bodily Illusions' demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema's power to evoke illusions:  Read more...
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Material Type: Government publication, State or province government publication
Document Type: Book
All Authors / Contributors: Scott C Richmond
ISBN: 9780816690961 0816690960 9780816690992 0816690995
OCLC Number: 928750668
Description: 215 pages, 8 unnumbered pages of plates : illustrations (some color) ; 22 cm
Contents: Introduction. Proprioceptive aesthetics, or the cinema --
The unfinished business of modernism : Anémic cinéma --
Beyond the infinite, at home in finitude : 2001 --
Ecological phenomenology : Merleau-Ponty and Gibson --
Proprioception, the Écart : Koyaanisqatsi --
The body, unbounded : Gravity --
Aesthetics beyond the phenomenal : The flicker --
Conclusion. The technicity of the cinema.
Responsibility: Scott C. Richmond.

Abstract:

"Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, 'Cinema's Bodily Illusions' demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema's power to evoke illusions: feeling like you're flying through space, experiencing 3D without glasses, or even hallucinating. He argues that cinema is, first and foremost, a technology to modulate perception. He presents a theory of cinema as a proprioceptive technology: cinema becomes art by modulating viewers' embodied sense of space. It works primarily not at the level of the intellect but at the level of the body. Richmond develops his theory through examples of direct perceptual illusion in cinema: hallucinatory flicker phenomena in Tony Conrad's The Flicker, eerie depth effects in Marcel Duchamp's Anémic Cinéma, the illusion of bodily movement through onscreen space in Stanley Kubrick's 2001, Godfrey Reggio's Koyaanisqatsi, and Alfonso Cuarón's Gravity. In doing so he combines insights from Maurice Merleau-Ponty's phenomenology of perception and James J. Gibson's ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema's perceptual, rather than representational, power."--

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"Richmond's theory and method offers an important tool for doing some of the critical work that spectator theory cannot. Cinema's Bodily Illusions may become an influential vein within postmodern Read more...

 
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Richmond<\/span>\n\u00A0\u00A0\u00A0\nschema:bookFormat<\/a> bgn:PrintBook<\/a> ;\u00A0\u00A0\u00A0\nschema:copyrightYear<\/a> \"2016<\/span>\" ;\u00A0\u00A0\u00A0\nschema:datePublished<\/a> \"2016<\/span>\" ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"\"Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, \'Cinema\'s Bodily Illusions\' demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema\'s power to evoke illusions: feeling like you\'re flying through space, experiencing 3D without glasses, or even hallucinating. He argues that cinema is, first and foremost, a technology to modulate perception. He presents a theory of cinema as a proprioceptive technology: cinema becomes art by modulating viewers\' embodied sense of space. It works primarily not at the level of the intellect but at the level of the body. Richmond develops his theory through examples of direct perceptual illusion in cinema: hallucinatory flicker phenomena in Tony Conrad\'s The Flicker, eerie depth effects in Marcel Duchamp\'s An\u00E9mic Cin\u00E9ma, the illusion of bodily movement through onscreen space in Stanley Kubrick\'s 2001, Godfrey Reggio\'s Koyaanisqatsi, and Alfonso Cuar\u00F3n\'s Gravity. In doing so he combines insights from Maurice Merleau-Ponty\'s phenomenology of perception and James J. Gibson\'s ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema\'s perceptual, rather than representational, power.\"--<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"Introduction. 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