The Lumière Galaxy: Seven Key Words for the Cinema to Come (Film and Culture Series)

The Lumière Galaxy: Seven Key Words for the Cinema to Come (Film and Culture Series)

Language: English

Pages: 312

ISBN: 0231172435

Format: PDF / Kindle (mobi) / ePub

Francesco Casetti believes new media technologies are producing an exciting new era in cinema aesthetics. Whether we experience film in the theater, on our hand-held devices, in galleries and museums, onboard and in flight, or up in the clouds in the bits we download, cinema continues to alter our habits and excite our imaginations.

Casetti travels from the remote corners of film history and theory to the most surprising sites on the internet and in our cities to prove the ongoing relevance of cinema. He does away with traditional notions of canon, repetition, apparatus, and spectatorship in favor of new keywords, including expansion, relocation, assemblage, and performance. The result is an innovative understanding of cinema's place in our lives and culture, along with a critical sea-change in the study of the art. The more the nature of cinema transforms, the more it discovers its own identity, and Casetti helps readers realize the galaxy of possibilities embedded in the medium.

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comment from the ethnographic research: “If you want, you can even watch something together with someone else. You just have to concentrate on the screen and stay together. I have watched tons of stuff together with my friends.” Casetti and Sampietro, “With Eyes,” 28. 12. See Last accessed March 2013. 13. Mariagrazia Fanchi, in Spettatore (Milan: Il Castoro, 2005), distinguishes between epidermal, multitask, and intimate forms of consumption. The first is characterized by

Tullio Panteo, “Il cinematografo,” La scena illustrata, 19.1 (October 1908). 13. André Bazin developed the metaphor in “Theater and Cinema,” in What Is Cinema? Ed. and trans. Hugh Gray (Berkeley, University of California Press, 1967), 1, 76–124. 14. This reference is to the title of Siegfried Kracauer’s volume Theory of Film: The Redemption of Physical Reality (New York: Oxford University Press, 1960). 15. For example, Freeburg observes that one of the conditions of cinema is that “it must

media also brings with it an adherence to the rules shared by a community.48 Entrance into a movie theater represents a form of access: Spectators arrive at a site, enter it, and become part of an audience. The computer and the Web have transformed the meaning of the word: to access has become synonymous with to obtain and to retrieve (as in computer data or a file).49 The central element becomes the possibility of consulting a series of sites—my mailbox, a social network, a home page, or a

speak. Rather, they have become transit hubs for the images that circulate in our social space. They serve to capture these images, to make them momentarily available for somebody somewhere—perhaps even in order to rework them—before they embark again on their journey. Therefore, screens function as the junctions of a complex circuit, characterized both by a continuous flow and by localized processes of configuration or reconfiguration of circulating images. This transformation of the screen is

the landscape, or to acquire new abilities. His move will determine a change in value, either of a specific character or of the total gains or losses; this score in turn will determine new moves. Therefore, the essence of the game does not lie in recognizing figures that appear on the screen: Attention is concentrated above all on a set of values and on a menu of possible lines of action. The player does not find pleasure in contemplating a representation; rather he moves within a forest of

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