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Time, video, and the end of cinema

Yıl 2017, , 101 - 105, 03.01.2017
https://doi.org/10.24289/ijsser.283591

Öz

The discussions of the end of cinema tend to privilege the emergence of digital technology as a turning point. In this paper, I argue for the centrality of the category of the “viewer”, which as a concept makes visible the essence of the medium of cinema. This essence is the preservation of time in which the viewer has a stake in relation to his or her memory. This then shows the limits for a possible discussion of the end of cinema. If there is a certain type of film that leaves no room for the spectator, then this could mark one sense of an end. I take the mainstream entertainment cinema that is based in staging a “spectacle” as an example. The temporality of cinema is also surpassed in the direction of video, which does not preserve time by constructing image-objects but participates in a time-matter in which all is already an image.

Kaynakça

  • Andrew, Dudley. (1984). Concepts in Film Theory Oxford: Oxford University Press
  • Andrew, Dudley (2009). Time Zones and Jetlag. In World Cinemas, Transnational Perspectives. London: Routledge.
  • Darley, Andrew. (2000). Visual Digital Culture. London: Routledge
  • Dienst, Richard. (1994). Still Life in Real Time: Theory After Television. Durham: DukeUniversity Press.
  • Lazarrato, Maurizio. (2008). Video, Flows, and Real Time. In Art and The Moving Image. London: Tate Publishing.
  • Niessen, Niels. (2011). Lives of Cinema: against its ‘death’. Screen, 52-3, 307-326.
  • Tarkovsky, Andrey. (2000). Sculpting In Time. Austin: University of Texas Press.
Yıl 2017, , 101 - 105, 03.01.2017
https://doi.org/10.24289/ijsser.283591

Öz

Kaynakça

  • Andrew, Dudley. (1984). Concepts in Film Theory Oxford: Oxford University Press
  • Andrew, Dudley (2009). Time Zones and Jetlag. In World Cinemas, Transnational Perspectives. London: Routledge.
  • Darley, Andrew. (2000). Visual Digital Culture. London: Routledge
  • Dienst, Richard. (1994). Still Life in Real Time: Theory After Television. Durham: DukeUniversity Press.
  • Lazarrato, Maurizio. (2008). Video, Flows, and Real Time. In Art and The Moving Image. London: Tate Publishing.
  • Niessen, Niels. (2011). Lives of Cinema: against its ‘death’. Screen, 52-3, 307-326.
  • Tarkovsky, Andrey. (2000). Sculpting In Time. Austin: University of Texas Press.
Toplam 7 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Makaleler
Yazarlar

Bulent Eken Bu kişi benim

Yayımlanma Tarihi 3 Ocak 2017
Yayımlandığı Sayı Yıl 2017

Kaynak Göster

APA Eken, B. (2017). Time, video, and the end of cinema. International Journal of Social Sciences and Education Research, 3(1), 101-105. https://doi.org/10.24289/ijsser.283591
AMA Eken B. Time, video, and the end of cinema. International Journal of Social Sciences and Education Research. Ocak 2017;3(1):101-105. doi:10.24289/ijsser.283591
Chicago Eken, Bulent. “Time, Video, and the End of Cinema”. International Journal of Social Sciences and Education Research 3, sy. 1 (Ocak 2017): 101-5. https://doi.org/10.24289/ijsser.283591.
EndNote Eken B (01 Ocak 2017) Time, video, and the end of cinema. International Journal of Social Sciences and Education Research 3 1 101–105.
IEEE B. Eken, “Time, video, and the end of cinema”, International Journal of Social Sciences and Education Research, c. 3, sy. 1, ss. 101–105, 2017, doi: 10.24289/ijsser.283591.
ISNAD Eken, Bulent. “Time, Video, and the End of Cinema”. International Journal of Social Sciences and Education Research 3/1 (Ocak 2017), 101-105. https://doi.org/10.24289/ijsser.283591.
JAMA Eken B. Time, video, and the end of cinema. International Journal of Social Sciences and Education Research. 2017;3:101–105.
MLA Eken, Bulent. “Time, Video, and the End of Cinema”. International Journal of Social Sciences and Education Research, c. 3, sy. 1, 2017, ss. 101-5, doi:10.24289/ijsser.283591.
Vancouver Eken B. Time, video, and the end of cinema. International Journal of Social Sciences and Education Research. 2017;3(1):101-5.

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