Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
“About Stereoscopic Cinema” (Eisenstein), 116–17, 147
Academy of Motion Picture Arts and Sciences, 113
aesthetics, 64; technology fused with, 103
agencement (assemblage), 81
Antonioni, Michelangelo, 2
Appadurai, Arjun, 29, 132
Apple Newton Message Pad, 253n34
art: cinema, 95; cinema compared to, 18; essential condition of, 224n40; mechanical, 21; performance, 90; resistance to, 261n18; sixth, 63–64
Arts and Crafts movement, 125
assemblage, 10, 69; apparatus and, 80; cinematic dispositive as, 81–87;; emergence of, 78–81
attention, 13; multitasking and, 30–31
attraction: cinema of, 150; force of, 187
back-to-the-cinema experience, 31, 33
Baudry, Jean-Louis, 76–77
Benjamin, Walter, 20, 24, 26, 34, 40–41, 148–49, 207, 211–13, 261n18, 262n37
BFI Statistical Yearbook 2013, 46, 229n7
“The Birth of a Sixth Art” (Canudo), 22, 115
The Blair Witch Project, 121
Bontempelli, Massimo, 150
box office returns, 45–46
British Film Institute, 18, 46
Charleston City Paper, 35
cinema: of adhesion, 124; aftermath of, 211–13; art, 95; art compared to, 18; assemblage, 81–87; of attractions, 150; beyond, 160–62; components of, 69; conditions of, 250n15; of consciousness, 124; contradictory presence of, 173–74; cybernetic, 104; definition of, 251n19; of dispersion, 124; domestic, 252n26; environments of, 133–37; expanded, 3–4, 11, 91, 127, 240n3; expanded, circa 1970, 102–5; expanded, circa 2013, 105–10; extended, 3; flexibility of, 95–96; heart of, 210; as hieroglyphs, 66; history of, 211–14; home, 94; as icon, 61–63; idea of, 14, 33–35, 209, 227n73; identity of, 15; indexicality of, 110; instability of, 90–92; invasion of, 149–50; light, 106, 240n13; mechanical, 222n16; media interconnected with, 104; migration of, 225n60–226n60; as modality, 56; multifaceted profile of, 122–24; needs for, 84; as object, 55–56; as pedagogy, 51; perimeters of, 92–95; permanence of, 215, 223n29; persistence of, 4, 8, 38–40, 211; as portal, 175–77; recognition of, 33; as relic, 61–63; reproduced reality in, 222n23; as ritual, 35; as sixth art, 63–64; topography of, 196; transformation of, 7–8. See also relocated cinema; specific cinema types
cinema-beyond-cinema experience, 31, 33
Cinématheque Française, 113
cinematic experience, 4–8; back-to-the-cinema, 31-33; bifurcation of, 56–57; of cinema-beyond-cinema, 31-33; classic, 141–42; contagiousness of, 26; redefinition of, 37–38; re-experiencing, 60; schism of, 53–57
cinematic narration, in new media, 110
cinematographic experience (as opposed to filmic experience), 56–57
computer-generated imagery (CGI), 109–10
concentration (as opposed to distraction), 148
“The Conquest of Ubiquity” (Valery), 26–7
“Considérations sur la situation du spectateur au cinéma” (Feldmann), 141–42
consumption: distraction and, 74; forms of, 235n13; practices of, 82; production and, 111
creativity: diffused, 103; mass, 106; of recognition, 39
The Creature from the Black Lagoon, 116, 147
Criterion Collection, 114
The Dark Knight Rises, 47
data: recuperation, 170; whirlwind of, 173
Death 24X a Second: Stillness and the Moving Image (Mulvey), 192–93
delivery, 50–53; fragments and, 60; relic and, 62
deterministic orientation, of media, 236n23
dialectical situations, 213
Didi-Huberman, Georges, 121
digital technology, 2, 134
digital television screens, 30
digital terrestrial television (DTT), 47
distraction, 148; consumption and, 74
donna schermo (screen woman), 157
DVDs, 9, 46, 185; Criterion Collection, 114; players, 2; rentals, 18; viewing, 192
Edinburgh International Film Festival, 64
Edison Home Projecting Kinetoscope, 134
Elite Home Theater Architects, 56
emotions, transporting, 225n57
environments: adaptable, 69; ambiguity of, 133; arrangement of, 51as component of assemblage, 82; bifurcation of, 135; of cinema, 133–37; cinematicity of, 139; distracting, 71; experiential, 53; media, 53; mediatized, 102; migration toward new, 198; new, 20–21; relocation of, 49–50; re-relocation and, 195; resonances in, 136; search for new, 175; teledynamic, 104. See also setting
Enzensberger, Hans Magnus, 237n52
The Execution of Mary Queen of Scots, 55
Expanded Cinema (Youngblood), 102-5
experience, 4–5, 19–25, 29; back-to-the-cinema, 31, 33; of cinema-beyond-cinema, 31, 33; cinematographic, 56–57; classic filmic, 141–42; configuration of, 31–32; context and, 131; displacement of, 29; encounters and, 221n10; filmic, 56–57; integrated, 136–37; need for, 198; relocation of, 20. See also cinematic experience
Exploding Plastic Inevitable events, 91
fainting, of medium, 206–8
fans: activity, 258n33; grassroots production by, 106–7; intervention of, 101
filmic experience (as opposed to cinematographic experience), 56–57
films: characterization of, 81–82; computer, 104; cult, 188; distribution, 220n7; as events, 199–200; feedback between spectators and, 103–4; genre, 200–201; and installations, 17–18, 88, 91–92; intervening with, 88; meanings of, 181; re-enjoyment of, 226n67; relocation and, 47–48; watching, 180–84
film theory: experiential approach to, 24; retracing, 219n26; as social discourse, 220n34
The Girl with the Dragon Tattoo, 47
Global Positioning System (GPS), 163–64
grassroots production, 106–7
Hearsay of the Soul, 96–97
Hurlements en faveur de Sade, 90–91
hypertrophy of narcissism, 74
Ice Age: Continental Drift, 47
identity, 8; of cinema, 15; screens and, 132
image-capturing devices, 191
images: albums, 191; dialectical, 212, 262n37; filmic, 101, 115, 227n69; flashing, 212; history of, 254n53; intercepted, 176–77; localizing, 175; as opposed to visual, 242n31; perceptual realistic, 219n21; poor, 118, 123; screened, 11; social, 33, 85; technical, 172–73
The Imaginery Signifier (Metz), 77
“In Defense of the Poor Image” (Steyerl), 118, 217n5
indexicality, of cinema, 110
information, circulation of, 170
“Iniziazione alle delizie del cinema” (“Initiation to the Delights of Cinema”, Gerbi), 149, 203–5
Internet protocol television (IPTV), 47
Into the Universe of Technical Images (Flusser), 171–72
kinetic (as opposed to cinematic), 110–12
Lévi-Strauss, Claude, 190
The Lord of the Rings, 187
Lumières’ Cinématographe, 135
Mariani dell’Anguillara, Camillio, 150
marketing, do-it-yourself, 190
Masculin Féminin. 15 faits precis, 67–69, 70
media: aggregate, 171; cinema interconnected with, 104; convergence of, 198; cool, 114, 244n78; as cultural form, 19; definition of, 19–20; delivery, 53; deterministic orientation of, 236n23; environment, 53; expansion of, 2; fainting of, 206–8; geography of, 124; hot, 114–17, 244n78; hybrid, 119; mobile, 226n66; new, 110, 237n52; in new environment, 20–21; permanence of, 29; specificity of, 27; as support, 19; system of sensations in, 28; theories, 15; transformation of, 170–73; transporting, 52–53; two faces of, 19–20. See also new media
Mission: Impossible - Ghost Protocol, 47
The Motion Picture, 1914-1934, 54–55
movie theaters, 9, 183; architecture of, 54; cinema outside, 45–47; digital, 218n14; domestication of, 137; films as events in, 199–200; growth of, 3; as heterotopia, 144; hypertopia and, 12; palaces, 61; spectators in, 141–42; 3-D, 218n14; transition of, 230n14
movie watching: on airplanes, 36–37; with audiences, 55; linearity of, 54; mobile, 36; outdoors, 35; as performance, 13, 186–89; progressiveness of, 54
“Moving Away from the Index: Cinema and the Impression of Reality” (Gunning), 219n26
Museum of Modern Art (MOMA), 54–55
Nachträglichkeit (afterwardness), 263
narcissism, hypertrophy of, 74
NBC Saturday Night at the Movies, 50, 230n17
needs: for cinema, 84; symbolic, 82–83
network, of social discourses, 181
new media, 237n52; cinematic narration in, 110
New Zealand Film Archive, 113
non-theatrical exhibition sites, 45
occurrence (cinema as), 140, 152
Ode to the Dawn of Man, 96
oikonomia (administration of God), 78
on-demand subscriptions, 46
The Origin of German Tragic Drama (Benjamin), 40–41
La passion de Jeanne d’Arc, 179–83
pay-to-view on-demand, 46
pictorial composition, 158
Pirates of the Caribbean, 108
The Politics of Aesthetics: The Distribution of the Sensible (Rancière), 124–27
poor images, 118; in high definition, 123
production: consumption and, 111; grassroots, 106–7; tracking, 114
projection-identification, 247n36
projectors, 76; availability of, 225n58; domestic, 94; on planes, 37; portable, 27
Radio City Movie Hall, 61
realism, tradition of, 173
relocated cinema, 28–30; authenticity of, 63–66; hypertopias and, 144
The Remembered Film (Burgin), 140
retrospective gestures, 39
Rocky Horror Picture Show, 88, 188
Royoux, Jean-Christophe, 218n9
screenic (as opposed to cinematic), 110–12
screens: as altarpiece, 160; as blackboard, 164; cinematic, 157–60; classes of, 250n8; concave hemispherical, 40; diffusion of, 136; for display, 12–13; as displays, 168–69; epiphany and, 12–13; evolution of, 12–13; expansion of, 161; fog as, 93; formats, 93; as frame, 158; home theater, 58; identity and, 132; IMAX, 57; as mirror, 158–59; new metaphors for, 162–67; as monitor, 163; in non-theatrical exhibition sites, 45; at Piazza Duomo, 129–31; portable, 57; rearticulation of space and, 132–33; reconfiguration of, 91; reflective, 4; rules of behavior and, 133; scale of, 135; as scrapbook, 166; small-scale, 138–39; split, 249n1; as suturing element, 84; tablets, 30, 161; technology, 161–62; television compared to movie, 160; touch, 168; transformation of, 156; types of, 30; urban public, 57–58; as wall, 166–67; as window, 157–58. See also specific screen types
Second Council of Nicaea, 63
sensible, distribution of, 124–27
Sherlock Holmes: A Game of Shadows, 47
social discourses: film theories as, 220n34; network of, 181
La sortie des usines, 136
spaces: contrapositions and, 131; of control, 136; darkness of, 84; dedicated, 139; public, 57–58, 137, 176; rearticulation of, 132–33; urban, 144; value of, 130–31; virtual, 145–46; of vision, 132–33. See also environments.
spectators, 13; actions of, 185–86; as component of assemblage, 83, 86–87; as bricoleurs, 189–90; in distracting environments, 71; existence of, 192–94; feedback between films and, 103–4; as flaneurs, 247n24; itinerary, 234n10–235n10; mediatized, 191–92; movie cameras and, 76; in movie theaters, 141–42; options for, 185–86; pensive, 192–93; percussive effect on, 249n61; possessive, 192; social networks and, 194; state of, 72–73; watching films, 180–84; Web, 258n41
streaming, growth of, 46–47
subjectivity, dispositives and, 79
Šušteršič, Apolonija, 134
suture, 84; suturing elements, 84
Techniques of the Observer (Crary), 77
technology, 21–22, 69; aesthetics fused with, 103; in assemblage cinema, 83, 85–86; digital, 2, 134; electric, 251n24; new, 106; renouncing, 19; screen, 161–62. See also digital technology
teledynamic environments, 104
topography, of cinema, 196
Tornatore, Giuseppe, 44–45
transmedia storytelling, 108
The Twilight Saga Breaking Dawn Part 1, 47
Usai, Paolo Cherchi, 217n5
Venetian, Atmospheric, 134
Venice Film Festival, 113
vision: cinematographic, 31; darkness of space of, 84; mobile, 73; object of, 73–74; perspectival, 77; practices of, 186–89; semi-cinematic, 139; semi-continuous, 138; semi-private, 138; space of, 132–33; stereoscopic, 77–78, 116–17
Voyage on the North Sea: Art in the Age of the Post-Medium Condition (Krauss), 78
Wadsworth Atheneum, 54–55
“What Is an apparatus?” (Agamben), 78–79
“What Is a Dispositif?” (Deleuze), 79–81
Whitney Museum Biennial, 96–97
“The Work of Art in the Age of Mechanical Reproduction” (Benjamin), 26, 148–49, 211–13