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Introduction: The Blackest and Whitest of Swans

Tessa Dwyer

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Tessa Dwyer is Lecturer, Film and Screen Studies at the School of Culture and Communication at Monash University, Caulfield Campus, Australia. Her publications include contributions in the edited collections Locating the Voice in Film, Contemporary Publics, State of Post-Cinema, and journals across the disciplines of Screen Studies, Translation Studies and Cultural Studies. Her most recent publication appeared in A Reader in International Media Piracy. Author affiliation details are correct at time of print publication.

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Claire Perkins

Claire Perkins is Senior Lecturer in Film and Screen Studies in the School of Media, Film and Journalism at Monash University, Australia. She is the author of American Smart Cinema (2012), and co-editor of U.S Independent Film After 1989: Possible Films (2015), B is for Bad Cinema: Aesthetics, Politics and Cultural Value (2014) and Film Trilogies: New Critical Approaches (2014). Author affiliation details are correct at time of print publication.

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Sean Redmond

Sean Redmond is Associate Professor in Media and Communication at Deakin University in Melbourne, Australia. He is editor of the journal Celebrity Studies, author of The Cinema of Takeshi Kitano: Flowering Blood (2013), andCelebrity and the Media (2013). Author affiliation details are correct at time of print publication.

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Seeing into Screens : Eye Tracking and the Moving Image

Bloomsbury Academic, 2018

Book chapter

...Prologue We would like to begin this introduction to Seeing into Screens: Eye Tracking the Moving Image with a brief reading of the preliminary research we have conducted on the opening six minutes to Black Swan (Darren Aronofsky 2010)....

Introduction: Deleuze’s Cinematographic Consciousness

Felicity Colman

Felicity Colman is Director of Research Programmes at Kingston University, London, UK. Author affiliation details are correct at time of print publication.

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Deleuze and Cinema : The Film Concepts

Berg, 2011

Book chapter

...Gilles Deleuze (1925–1995) was the first philosopher to write a two-volume account of cinema. Deleuze creates a very specific open system of thinking about how and what the screen medium does. This book, Deleuze and Cinema: The Film...

Topology

Felicity Colman

Felicity Colman is Director of Research Programmes at Kingston University, London, UK. Author affiliation details are correct at time of print publication.

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Deleuze and Cinema : The Film Concepts

Berg, 2011

Book chapter

...The topology of screen-space is the mind-map of the creators of the image: writers, concept artists, directors, sound engineers, editors, cinematographers, as fitted together under the production budget and design. Technically...

Conclusion: The role of the historian

Jonathan Stubbs

Jonathan Stubbs is Professor in the Communication Faculty at Cyprus International University, Cyprus. Author affiliation details are correct at time of print publication.

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Historical Film : A Critical Introduction

Bloomsbury Academic, 2009

Book chapter

...In this book I have approached historical films in terms of the engagements they make with the past. By way of a conclusion, I will refine this focus slightly to examine the ways in which historical films have engaged with history...

Time

Felicity Colman

Felicity Colman is Director of Research Programmes at Kingston University, London, UK. Author affiliation details are correct at time of print publication.

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Deleuze and Cinema : The Film Concepts

Berg, 2011

Book chapter

...Deleuze provides an extensive array of different types and forms of time-images that screen images produce and express. Deleuze’s description of the time-image provides a philosophical and mathematical explanation for different aspects...

Signs (Vector)

Felicity Colman

Felicity Colman is Director of Research Programmes at Kingston University, London, UK. Author affiliation details are correct at time of print publication.

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Deleuze and Cinema : The Film Concepts

Berg, 2011

Book chapter

...In the Deleuze’s taxonomy, over twenty different signs generated by the movement-image and over a dozen from the time-image are charted. The way that the ciné-system works, by infinite generation, means that there is no limit to the number...

Thought

Felicity Colman

Felicity Colman is Director of Research Programmes at Kingston University, London, UK. Author affiliation details are correct at time of print publication.

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Deleuze and Cinema : The Film Concepts

Berg, 2011

Book chapter

...What causes us to think? Deleuze tells us thought is created by the moving image and argues that cinema issues a call for an ‘ethics’ and ‘belief’ in the world. Deleuze describes the thought-image as a product of a new cinema of the body...

Transsemiotics

Felicity Colman

Felicity Colman is Director of Research Programmes at Kingston University, London, UK. Author affiliation details are correct at time of print publication.

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Deleuze and Cinema : The Film Concepts

Berg, 2011

Book chapter

...In his assemblage of the signs and images of cinema, Deleuze creates an apparently simple set of concepts: movement-image and time-image. These two forms work as open-assembly points for other images, enabling the production of a limitless...

Borderline: Nauman’s Balls and Acconci’s Shoot

Eva Ehninger

Eva Ehninger

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media|matter : the materiality of media|matter as medium

Bloomsbury Academic, 2015

Book chapter

...In Understanding Media. The Extensions of Man Marshall McLuhan utilized the myth of love-struck Narcissus yearning for his own image mirrored on the water surface in order to describe the double effect of media—in this case a mirrored...

A Brief Narrative History of Avant-Garde Film Adaptation or, Some Instances of Avant-Garde Adaptation

William Verrone

William Verrone is Assistant Professor of Film and Literature at the University of North Alabama. He has published on a wide range of subjects, from Disney to Nick Cave and from Terry Gilliam to Ken Russell. Author affiliation details are correct at time of print publication.

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Adaptation and the Avant-Garde : Alternative Perspectives on Adaptation Theory and Practice

Continuum, 2011

Book chapter

...There is no formal academic study or history of avant-garde adaptation; what I am attempting to do is offer a few ideas about some alternative forms of adaptation that have occurred since the origins of cinema, highlighting specific...