"Moving images take us on mental and emotional journeys, over the course of which we and our worlds undergo change. This is the premise of Ecologies of the Moving Image, which accounts for the ways cinematic moving images move viewers in ways that reshape our understanding of ourselves, of life, and of the Earth and universe. This book presents an ecophilosophy of the cinema: a...
"Moving images take us on mental and emotional journeys, over the course of which we and our worlds undergo change. This is the premise of Ecologies of the Moving Image, which accounts for the ways cinematic moving images move viewers in ways that reshape our understanding of ourselves, of life, and of the Earth and universe. This book presents an ecophilosophy of the cinema: an account of the moving image in relation to its lived ecologies--the material, social, and perceptual relations within which movies are produced, consumed, and incorporated into cultural life. Cinema, Adrian Ivakhiv argues, lures us into its worlds, but those worlds are grounded in a material and communicative Earth that supports them, even if that supporting materiality withdraws from visibility. Ivakhiv examines the geographies, visualities, and anthropologies--relations of here and there, seer and seen, us and them, human and inhuman--found across a range of styles and genres, from ethnographic and wildlife documentaries to westerns and road movies, and from sci-fi blockbusters and eco-disaster films to the experimental and art films of Tarkovsky, Herzog, Greenaway, Malick, Dash, and Brakhage as well as YouTube's expanding audiovisual universe. Through its process-relational account of cinema, drawn from philosophers such as Whitehead, Peirce, and Deleuze, the book boldly enriches our understanding of film and visual media."--Page 4 da la couverture.
原文摘录
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In the film(Prospero’s Books)’s final scene, Ariel, released by Prospero from his place in the latter’s artificial hierarchy, runs in delight until he jumps out of the frame, with only his two-dimensional silhouette remaining. Greenaway’s parting image can be taken to suggest that we ourselves can be freed from our own imaginal hierarchies and dualities—freed, then, to imagine things altogether differently. (查看原文)
Every finished film is, in the end, a complex fabric of kindling waiting for a viewer to light it. How it will burn in the minds and lives of its viewers is a great unknown. Filmmakers try to predict and control for the factors surrounding its burning. They are, after all, responsible for producing the mix of affordances that will greet the viewers upon the lighting of the match (the unspooling of the reel, the rolling of the tape, the scanning and reading of the disk, the clicking of the play button). But those affordances, being affordances for affect and interpretation, are always already outside their control. (查看原文)
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