By Tim Cresswell
Attractive movie is an inventive, interdisciplinary quantity that explores the engagements between movie, house, and identification and contours a bit at the use of movies within the school room as a serious pedagogical device. targeting anti-essentialist subject matters in motion pictures and movie construction, this ebook examines how social and spatial identities are produced (or dissolved) in movies and the way mobility is used to create varied stories of time and area. From renowned videos resembling 'Pulp Fiction,' 'Bulworth,' 'Terminator 2,' and 'The Crying online game' to domestic video clips and avant-garde movies, the analyses and educating equipment during this assortment will have interaction scholars and researchers in movie and media reviews, cultural geography, social idea, and cultural stories.
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Extra info for Engaging Film: Geographies of Mobility and Identity
This time within the frame opposes what Bergson called the cinematographic illusion that time is re constituted from immobile segments or positions in space linked in abstract time. 98 As Panofsky once put it, we do not just have the spatialization of time, but also the dynamization of space. 99 Contemporary arguments of urban dissolution and the spatialization of social ac counts risk and rely on mobilizing this dichotomous idea of space and time. 100 If filmic spaces are not simply the suturing together of static instants but the creation of sections mobile within themselves, then images move from quantitative accumu lation of banalities to the multiplication of qualitative singularities.
48. Burgin, In/Different Spaces. 49. Jenks, Centrality of the Eye. 50. Dienst, Still Life. 51. R. Krauss, "The Im/Pulse to See;' in Vision and Visuality, ed. H. Foster (Seattle: Bay Press, 1988), 52. 52. Crary, Modernizing. 53. Krauss, Im/Pulse. 54. D. Slater, "Photography and Modern Vision: The Spectacle of'Natural' Magic;' in Visual Culture, ed. C. Jenks (London: Routledge, 1995), 218-37. 55. J. Rajchman, "Foucault's Art of Seeing;' October 44 (1988): 89-117. 56. Crary, Modernizing, 8; Crary, Techniques, 6.
For writer and director Quentin Tarantino, visually graphic, "realist" representations of violence, what I will call spectacular violence that simultaneously evokes fascination and re vulsion, are not only central to the narrative of Pulp Fiction but become an end in and of themselves. 32 Spectacular Violence, Hypergeography, and Alienation 33 Spectacular violence echoes throughout the film in a number of killings, beatings, needle injections, and a homosexual rape. All of this becomes more complex, and in a sense more pleasing, to the spectator because it is rendered accessible through compelling characters and narratives, hip music, and humorous pop culture refer ences.
Engaging Film: Geographies of Mobility and Identity by Tim Cresswell