Book Seung-hoon Jeong - Cinematic Interfaces : A Theory of Image and Subjectivity EPUB, MOBI, PDF
9780415833158 English 0415833159 In this book Seung-hoon Jeong--winner of the SCMS 2012 Best Dissertation Award--introduces a synthetic, multi-faceted notion of interfaciality to film theory, proposing that a cinematic interface be understood as a contact surface mediating the cinematic image between two sides in spatial difference (object/medium/subject) and temporal deferment (recording/editing/projection). Each of the book's chapters examine cinematic interfaces seen on screen, including: the direct appearance of a camera/filmstrip/screen, the character's bodily contact with such a medium-interface, the object's surface, and the subject's face as "quasi-interface." Further, each chapter focuses on a key facet of interfaciality beyond neutral mediation or transparent connection (asymmetrical mutuality, ambivalent tactility, immanent virtuality, multiple directionality, and para-index/indexivity) between two sides of an interface--between subject and object. These five qualities are then theorized in light of five important film theory concepts: suture , embodiment , illusion , signification , and indexicality ., In this book, Seung-hoon Jeong introduces a synthetic, multi-faceted notion of interfaciality to film theory, proposing that a cinematic interface be understood as a contact surface mediating the cinematic image between two sides in spatial difference (object/medium/subject) and temporal deferment (recording/editing/projection). Drawing on a range of films, and including 100 frames for analysis, Jeong examines cinematic interfaces seen on screen, including: the direct appearance of a camera/filmstrip/screen, the character's bodily contact with such a medium-interface, the object's surface, and the subject's face as "quasi-interface." Looking to theories such as the ontology of the image and the phenomenology of the body, this original theorization of the cinematic interface not only suggests a conceptual framework for rethinking and re-linking film and media studies, but also offers a general theory of the interface., In this book, Seung-hoon Jeong introduces the cinematic interface as a contact surface that mediates between image and subject, proposing that this mediation be understood not simply as transparent and efficient but rather as asymmetrical, ambivalent, immanent, and multidirectional. Jeong enlists the new media term "interface" to bring to film theory a synthetic notion of interfaciality as underlying the multifaceted nature of both the image and subjectivity. Drawing on a range of films, Jeong examines cinematic interfaces seen on screen and the spectator's experience of them, including: the direct appearance of a camera/filmstrip/screen, the character's bodily contact with such a medium-interface, the object's surface and the subject's face as "quasi-interface," and the image itself. Each of these case studies serves as a platform for remapping and revamping major concepts in film studies such as suture, embodiment, illusion, signification, and indexicality. Looking to such theories as the ontology of the image and the phenomenology of the body, this original theorization of the cinematic interface not only offers a conceptual framework for rethinking and re-linking film and media studies, but also suggests a general theory of the interface.
9780415833158 English 0415833159 In this book Seung-hoon Jeong--winner of the SCMS 2012 Best Dissertation Award--introduces a synthetic, multi-faceted notion of interfaciality to film theory, proposing that a cinematic interface be understood as a contact surface mediating the cinematic image between two sides in spatial difference (object/medium/subject) and temporal deferment (recording/editing/projection). Each of the book's chapters examine cinematic interfaces seen on screen, including: the direct appearance of a camera/filmstrip/screen, the character's bodily contact with such a medium-interface, the object's surface, and the subject's face as "quasi-interface." Further, each chapter focuses on a key facet of interfaciality beyond neutral mediation or transparent connection (asymmetrical mutuality, ambivalent tactility, immanent virtuality, multiple directionality, and para-index/indexivity) between two sides of an interface--between subject and object. These five qualities are then theorized in light of five important film theory concepts: suture , embodiment , illusion , signification , and indexicality ., In this book, Seung-hoon Jeong introduces a synthetic, multi-faceted notion of interfaciality to film theory, proposing that a cinematic interface be understood as a contact surface mediating the cinematic image between two sides in spatial difference (object/medium/subject) and temporal deferment (recording/editing/projection). Drawing on a range of films, and including 100 frames for analysis, Jeong examines cinematic interfaces seen on screen, including: the direct appearance of a camera/filmstrip/screen, the character's bodily contact with such a medium-interface, the object's surface, and the subject's face as "quasi-interface." Looking to theories such as the ontology of the image and the phenomenology of the body, this original theorization of the cinematic interface not only suggests a conceptual framework for rethinking and re-linking film and media studies, but also offers a general theory of the interface., In this book, Seung-hoon Jeong introduces the cinematic interface as a contact surface that mediates between image and subject, proposing that this mediation be understood not simply as transparent and efficient but rather as asymmetrical, ambivalent, immanent, and multidirectional. Jeong enlists the new media term "interface" to bring to film theory a synthetic notion of interfaciality as underlying the multifaceted nature of both the image and subjectivity. Drawing on a range of films, Jeong examines cinematic interfaces seen on screen and the spectator's experience of them, including: the direct appearance of a camera/filmstrip/screen, the character's bodily contact with such a medium-interface, the object's surface and the subject's face as "quasi-interface," and the image itself. Each of these case studies serves as a platform for remapping and revamping major concepts in film studies such as suture, embodiment, illusion, signification, and indexicality. Looking to such theories as the ontology of the image and the phenomenology of the body, this original theorization of the cinematic interface not only offers a conceptual framework for rethinking and re-linking film and media studies, but also suggests a general theory of the interface.