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Cinema past movie elaborates at the theoretical makes use of of 2 key terms—dispositif and episteme—in order to envision their dating in addition to their higher connections to movie, expertise, and modernity. even though either phrases originate within the paintings of Foucault, dispositif (“device”) intrinsically hyperlinks itself to the mechanics of move and velocity in the back of cinematics, whereas extra quite often touching on the mechanisms and buildings that carry energy in position. Episteme(“to know”), nevertheless, refers back to the stipulations and probabilities of wisdom and reception, greater than to technological innovation. each one time period is explored right here relating to the opposite, permitting this edited assortment to evaluate the big variety of capability materialities that come up from the mechanics at the back of cinema and the altering face of its expertise.

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16. One of his 'Waves' is special, in that there is an extremely sharp horizon line, against which three elements are juxtaposed: 1) the sky unfolding with very de- . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . ppg=44 Copyright © Amsterdam University Press. All rights reserved. S. or applicable copyright law. 44 17. 18. 19. 20. 21. 22. François Albera and Maria Tortajada tailed clouds; 2) a rough sea with high, foamy waves; and 3) a strip of land with two moored boats, creating an effect of verticalization of two-thirds of the painting (the sky and the sea), which the perception of the land redistributes in depth because of its initiating place in the foreground and its brownish tonality, which stands out against the whiteness of the foam.

Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . ppg=36 Copyright © Amsterdam University Press. All rights reserved. S. or applicable copyright law. 36 François Albera and Maria Tortajada It is a useful model in that it clearly distinguishes between the three levels and highlights data that are used to develop problematics that could not take shape if they w ere sim ply addressed from the view point o f current approaches. , hid­ den and displayed mediation, and those endless debates around the notion of realism.

3. ); 4. literary discourses that produce variations of the dispositive w ithin an im a­ ginary w orld (Verne, Villiers de l'lsle Adam , Jarry, Apollinaire, Roussel); 5. e. Melies). We aim to identify the different view in g dispositives in these discourses, w hat­ ever their nature (and not only those dealing w ith cinem atography in the strict sense of the term) and thus pinpoint the constituents of the epistemic schema to w hich cinema in its various forms contributes as a singular historical disposi­ tive.

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