Ve. A history of in motion that explores the special effect of cinemaIt has been said all
cinema is a special effect in this highly is a special effect In this highly examination of time in film Sean Cubitt tries to get at the root of the uncanny effect produced by images and sounds that don't uite align with reality What is it that cinema does Cubitt proposes a history of images in motion from a digital perspective for a digital audienceFrom the viewpoint of art history an image is discrete still How can a moving image constructed from countless constituent images
Even Be Considered An be considered an And where in. Nic. Ontributions of French cinematic
PIONEERS IN THE LATE NINETEENTH AND in the ate nineteenth and twentieth centuries He then examines the sound cinema of the 1930s examining film effects in works by Eisenstein Jean Renoir and Hollywood's RKO studio Finally he considers what he calls post cinema examining the postwar development of the spatialization of time through slow motion freeze frame and steadi cam techniues Students of film will postwar development of the spatialization of time through slow motion freeze frame and steadi cam techniues Students of film will Cubitt's analyses of noncanonical films ike Sam Peckinpah's Pat Garrett and Billy the Kid as enlightening as his fresh takes on such classics as Renoir's Rules of the Game. .
Summary The Cinema Effect.
Ry. Time is an image in motion ocated Cubitt traces the complementary histories of two forms of the imagemotion relationship the stillness of image combined with motion of the body exemplified by what Cubitt calls the protocinema of railway travel the movement of the image with the stillness of the body exemplified by melodrama and the magic antern He argues that the magic of cinema arises from the intertwining relations between different kinds of movement different kinds of time and different kinds of spaceHe begins with a discussion of pioneer cinema focusing on the