Buch, Englisch, 341 Seiten, Previously published in hardcover, Format (B × H): 148 mm x 210 mm, Gewicht: 461 g
Philosophy, Ecology, and Cybernetics
Buch, Englisch, 341 Seiten, Previously published in hardcover, Format (B × H): 148 mm x 210 mm, Gewicht: 461 g
ISBN: 978-3-030-06569-0
Verlag: Springer International Publishing
This book provides an interdisciplinary analysis of film in the context of the Anthropocene: the new geological era in which human beings have collectively become a force of nature. Daniel White draws on perspectives in philosophy, ecology, and cybernetics (the science of communication and control in animals and machines) to explore human self-understanding through film in the new era. The classical figure of Janus, looking both to the future and the past, serves as a guide throughout the study. Both feature and documentary films are considered.
Zielgruppe
Research
Autoren/Hrsg.
Fachgebiete
- Geisteswissenschaften Philosophie Moderne Philosophische Disziplinen Philosophische Anthropologie
- Sozialwissenschaften Ethnologie | Volkskunde Ethnologie Umwelt und Kultur, Kulturökologie
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgattungen, Filmgenre
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse
Weitere Infos & Material
1. Introduction: Stepping into the Play Frame—Cinema as Mammalian Communication.- 2. Janus’s Celluloid and Digital Faces: The Existential Cyborg—Autopoie¯sis in Christopher Nolan’s Memento.- 3. Documentary Intertext: Robert Gardner’s Dead Birds 1964.- 4. Cinema’s Historical Incarnations: Traveling the Möbius Strip of Biotime in Cloud Atlas.- 5. Documentary Intertext: John Marshall, The Hunters 1957.- 6. Janus East and West: Multicultural Polyvocality—Trinh Minh-ha’s The Fourth Dimension and The Digital Film.- 7. Documentary Intertext: Trance and Dance in Bali 1951.- 8. Janus’s Interspecies Faces: Biomorphic Transformations in the Ecology of Mind in James Cameron’s Avatar.- 9. Documentary Intertext: André Singer’s and J. Stephen Lansing’s The Goddess and the Computer 1988.- 10. Conclusion: Toward a Transdisciplinary Critical Theory of Film.
