Nic. Ontributions of French cinematic pioneers in the late nineteenth and early 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 evelopment of the spatialization of time through slow motion freeze frame and steadi cam techniues Students of film will find Cubitt's analyses of noncanonical films like 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.
Ve. A history of images in motion that explores the special effect of cinemaIt has been said that all cinema is a special effect In this highly original examination of time in film Sean Cubitt tries to get at the root of the uncanny effect produced by images and sounds that on't uite align with reality What is it that cinema oes Cubitt proposes a history of images in motion from a The Life of Kitty Storm digital perspective for aigital audienceFrom the viewpoint of art history an image is iscrete still How can a moving image constructed from countless constituent images even be considered an image And where in.
Ry. Time is an image in motion located Cubitt traces the complementary histories of two forms of the imagemotion relationship the stillness of the image combined with the motion of the body exemplified by what Cubitt calls the protocinema of railway travel and the movement of the image combined with the stillness of the body exemplified by melodrama and the magic lantern He argues that the magic of cinema arises from the intertwining relations between ifferent kinds of movement Therapy of Love different kinds of time andifferent kinds of spaceHe begins with a iscussion of pioneer cinema focusing on the
Sean Cubitt is Professor of Film and Television Goldsmiths University of London and the author of several books most recently The Practice of Light A Genealogy of Visual Technologies from Prints to Pixels