Suchergebnisse

Cover -- Contents -- Introduction | The Projection/Protection Complex -- Delights and Fears -- Confronting the World -- I. Screens, Space, Fears -- The Visual and the Spatial -- Becoming Screen -- The Screen and Its Milieu -- Innervation -- An Ecology of Operations -- Screens and Enclosures -- Screenscapes and Mediation -- Intermezzo 1 | Bunkers -- II. The Phantasmagoria: An Enclosure and Three Worlds -- The Vaults of Memphis -- The Phantasmagoria's Assemblage -- The Screen -- The Setting -- Fears -- Interior, Interiority -- Mapping the Multiverse -- The Phantasmagoria's Legacy -- Intermezzo 2 | Ballistics of Perception -- III. Cinema: A Space for Comfort -- King Kong's Jungle and Mr. Rockefeller's Temple -- Modern Comforts -- Manufactured Weather -- The Rules of Courtesy -- A Perfect Vision -- Exoneration, Compensation -- The Devil, Finally -- Intermezzo 3 | Somewhere, Not Too Far Away -- IV. Digitally Networked Bubbles: Distance and Closeness -- So Close, So Far -- The Screen and the Mask -- Bubbles -- The Space around Us -- Close-Ups -- From Physical Walls to Immaterial Borders -- Zeitgeist -- Bubbles and Cells -- Intermezzo 4 | Frames and Folds -- V. Strategies of Mitigation -- Facing Fears -- Disciplinary Spaces -- Immunity -- Government Technologies -- The Protective Shield -- Epilogue | Protection, Overprotection, and the Force of Screened Images -- Protective Media -- Overprotection -- Apart, Together -- The Force of Screened Images -- Acknowledgments -- Notes -- Bibliography -- Index.

Often used as a synonym of 'definition', the term 'resolution' indicates the quantity of detail a raster digital image holds, and may refer to image resolution (the size of a digital image file), display resolution (the total number of pixels or the pixel density of a digital visual display), or optical resolution (the number of image sensor elements in a digital camera). Resolution may be increased or decreased, and its various degrees determine not only the visual appearance of an image, but also the conditions of its production, storage, and circulation. As a way of measuring and controlling visibility, resolution raises a whole series of aesthetic, epistemological, and political implications, and may be tackled from the different perspective of media theory, media archaeology, and visual culture theory. Reaching back to McLuhan's reflections on the low definition of the television screen and on its analogies with mosaics and pointillisme, this introduction examines the question of resolution in a number of film, media, and artistic practices from the 1960s to today.

Against the grain of the growing literature on screens, "Screen Genealogies" argues that the present excess of screens cannot be understood as an expansion and multiplication of the movie screen nor of the video display. Rather, screens continually exceed the optical histories in which they are most commonly inscribed. As contemporary screens become increasingly decomposed into a distributed field of technologically interconnected surfaces and interfaces, we more readily recognize the deeper spatial and environmental interventions that have long been a property of screens. For most of its history, a screen was a filter, a divide, a shelter, or a camouflage. A genealogy stressing transformation and descent rather than origins and roots emphasizes a deeper set of intersecting and competing definitions of the screen, enabling new thinking about what the screen might yet become.

Against the grain of the growing literature on screens, *Screen Genealogies* argues that the present excess of screens cannot be understood as an expansion and multiplication of the movie screen nor of the video display. Rather, screens continually exceed the optical histories in which they are most commonly inscribed. As contemporary screens become increasingly decomposed into a distributed field of technologically interconnected surfaces and interfaces, we more readily recognize the deeper spatial and environmental interventions that have long been a property of screens. For most of its history, a screen was a filter, a divide, a shelter, or a camouflage. A genealogy stressing transformation and descent rather than origins and roots emphasizes a deeper set of intersecting and competing definitions of the screen, enabling new thinking about what the screen might yet become.

This collection is the first to bring together scholars to explore the ways in which various people and groups in Italian society reacted to the advent of cinema. Looking at the responses of writers, scholars, clergymen, psychologists, philosophers, members of parliament, and more, the pieces collected here from that period show how Italians developed a common language to describe and discuss this invention that quickly exceeded all expectations and transcended existing categories of thought and artistic forms. The result is a close-up picture of a culture in transition, dealing with a 'scandalous' new technology that appeared poised to thoroughly change everyday life.

La notion de « relocation » désigne le déplacement historique du visionnage cinématographique vers des milieux et des objets nouveaux. Qu'il s'agisse de regarder une œuvre cinématographique sur une tablette dans un train ou bien d'assister à un match de foot dans la salle domestique d'un home théâtre, la dispersion de l'expérience cinématographique, en cours depuis longtemps, est significativement accélérée par les nouveaux media.