| Descript |
128 pages : illustrations ; 20 cm |
|
text txt rdacontent |
|
unmediated n rdamedia |
|
volume nc rdacarrier |
| Note |
Includes bibliographical references (pages 111-127) |
|
1. Introduction : the noise of the marketplace -- 2. Barthes' discretion -- 3. Jenni's room : exhibitionism and solitude -- 4. The remembered film -- 5. Mies in Maurelia -- 6. Marker marked -- 7. Coda : possessive, pensive and possessed |
|
"Victor Burgin examines a kaleidoscope of film fragments drawn from a variety of media as well as the Internet, memory and fantasy. Among these are sequences of such brevity they might almost be stills. Such 'sequence-images', as Burgin calls them, are neither strictly 'image' nor 'image-sequence' and have not been addressed hitherto either by film or photography theory. He considers these through some typical individual experiences - reflecting on such disparate occurrences as the association in memory of fragments from otherwise unrelated films, of the relation of a recollected film image to an architectural setting, or of feeling 'marked' by an image remembered from a film."--Jacket |
| Subject |
Motion pictures -- Psychological aspects
|
|
Recollection (Psychology)
|
|
