Download e-book for kindle: The Emergence of Cinematic Time: Modernity, Contingency, the by Mary Ann Doane

By Mary Ann Doane

ISBN-10: 0674007840

ISBN-13: 9780674007840

Hailed because the everlasting list of fleeting moments, the cinema emerged on the flip of the 19th century as an unheard of technique of shooting time--and this at a second while disciplines from physics to philosophy, and ancient traits from industrialization to the growth of capitalism, have been remodeling the very concept of time. In a piece that itself captures and reconfigures the passing moments of paintings, heritage, and philosophy, Mary Ann Doane indicates how the cinema, representing the singular immediate of likelihood and ephemerality within the face of the expanding explanation and standardization of the day, participated within the structuring of time and contingency in capitalist modernity. At this book's middle is the cinema's crucial paradox: temporal continuity conveyed via "stopped time," the fast succession of nonetheless frames or frozen photographs. Doane explores the position of this paradox, and of notions of the temporal indeterminacy and instability of a picture, in shaping not only cinematic time but in addition glossy rules approximately continuity and discontinuity, archivability, contingency and determinism, and temporal irreversibility. A compelling meditation at the prestige of cinematic wisdom, her e-book is usually an inquiry into the very middle and soul of modernity.

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Because you never know what will happen. Walt Disney In the wake of Woodstock and the Vietnam War, television grew bolder in the 1970s. Programs reflected the social and emotional changes of the Woodstock Generation, outspoken and outrageous. In 1970, the networks cancelled at least 30 series that had been hits in the 1960s and replaced them with a new approach to programming that was targeted directly to a younger audience. All in the Family was the first prime-time sitcom to bring hotbed issues like racism, bigotry, and sexism into America’s living rooms.

They are financially supported by subscription fees or commercials, and their advertisers’ products closely parallel and reflect the viewers’ interests and buying habits. But there are hundreds of them, literally, and the competition for even limited viewership is fierce. This era is one of genuine transition—many of the old rules no longer apply, but the new rules have yet to be established or formalized. Everyone in the television medium, and those in related new media industries, are scrambling to outthink their competitors.

The Partridge Family added popular music to the sitcom genre. A new genre of programming emerged in prime-time drama, as viewers entered the professional and personal lives of doctors, lawyers, cops, and detectives in shows such as Kojak, Starsky and Hutch, Baretta, and M*A*S*H. The genre of the “super woman” forged new icons in the 1970s with Charlie’s Angels, Police Woman, Wonder Woman, and The Bionic Woman. Their characters reflected the burgeoning woman’s movement, as sitcoms Laverne and Shirley and Phyllis provided working women with a playful dimension of fun.

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The Emergence of Cinematic Time: Modernity, Contingency, the Archive by Mary Ann Doane

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