Suchergebnisse

Moving through Friedberg's properly adjusted virtual window / Tom Gunning -- Psychoanalysis discovers film theory: Anne Friedberg and close up / Christa Blümlinger -- Nicholas Ray's we can't go home again: multiple windows in a delirious time machine / Patricia Pisters -- The Eisenstein effect: architecture and narrative montage in Eisenstein and Le Corbusier / Anthony Vidler -- Max Ophuls and instant messaging: reframing cinema and publicness / Miriam Hansen -- The open box: Umberto Eco, Achille Castiglioni and the architecture of television / Sylvia Lavin -- Windows on a broken world: Gordon Matta-Clark's photographs of public housing in New York / Gwendolyn Owens -- Sites of screening: cinema, museum, and the art of projection / Giuliana Bruno -- Humans becoming animals: on sensorimotor affection / Gertrud Koch.

Mobility studies is remaking how we understand a contemporary world in relentless motion. Media theorist & historian Anne Friedberg was among the first practitioners of visual studies to theorize the experience of mobile vision. Her books have become key points of reference in the discussion of the windows that frame images & the viewers in motion who perceive them. Although widely influential beyond her own discipline, Friedberg's work has never been the subject of an extended study. 'The Moving Eye' gathers together essays by a renowned international group of thinkers in media studies, art history, architecture, & museum studies to consider the rich implications of her work for understanding film & video, new media, visual art, architecture, exhibition design, urban space, & virtual reality. These nine essays advance the lines of inquiry begun by Friedberg.

Architectural historian P. Reyner Banham (1922–88) is widely known for his numerous writings on the modern built environment, including the book Los Angeles: The Architecture of Four Ecologies (1971). In the BBC television film Reyner Banham Loves Los Angeles (Julian Cooper, 1972), he concretized his earlier insights about the importance of mobility in the Southern California metropolis by employing the proclivity of the cinematic medium to represent movement. While traditional notions of the urban icon commonly understand it as a static monument or landmark, in these two works Banham challenges the suitability of this view to a city as inflected by automobility as Los Angeles and proposes the motorway and the experience of driving as its most characteristic iconic forms.