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A Preface to Disputation (Dudley Andrew)
I. What Did Walter Benjamin See? Image Cultures, 1890-1933
Introduction (Dudley Andrew)
Beauty's Veils: The Ambivalent Iconoclasm of Kierkegaard and Benjamin (John Durham Peters)
Jules, Jim, and Walter Benjamin (Dudley Andrew)
Women on the Screens and Streets of Modernity: In Search of the Female Flaneur (Anke Gleber)
The Fair View: Female Spectators and the 1893 Chicago World's Columbian Exposition (Lauren Rabinovitz)
Faces of Weimar Germany (Sabine Hake)
II. Traditional Arts and the Shock of This Century's Image
Introduction (Dudley Andrew)
The Cubist Image and the Image of Cubism (Jennifer Pap)
Pop Art/Pop Culture: Neo-Dada and the Politics of Plenty (Estera Milman)
(Re)Imaging the Grotesque: Francis Bacon's Crucifixion Triptychs (Robert Newman)
III. Vision and Interpretation after Photography
Introduction (Dudley Andrew)
The Variable Eye, or the Mobilization of the Gaze (Jacques Aumont, translated by Charles O'Brien and Sally Shafto)
The End of Cinema? An Afterword to Jacques Aumont's "The Variable Eye" (Charles O'Brien)
From the Captured Moment to the Cinematic Image: A Transformation in Pictorial Order (James Lastra)
Snapshots: The Beginnings of Photography (Robert B. Ray)
Immediate History: Videotape Interventions and Narrative Film (Timothy Corrigan)
About the Contributors
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Frances Drzewicki
reviewed The Image In Dispute on October 25, 2015
The Image In Dispute
David Carrier writes so clearly that there is no trouble understanding what he is trying to get across as there is with so many other theorists these days. This is a great book about authors who reference art in their books, or about how different people may describe one work of art as contemporaries or over time. A great discussion of Manet's A Bar at the Folies-Bergère (1982).
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Add The Image In Dispute, Photography, cinema, and video have irrevocably changed the ways in which we view and interpret images. Indeed, the mechanical reproduction of images was a central preoccupation of twentieth-century philosopher Walter Benjamin, who recognized that film wo, The Image In Dispute to the inventory that you are selling on WonderClubX
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Add The Image In Dispute, Photography, cinema, and video have irrevocably changed the ways in which we view and interpret images. Indeed, the mechanical reproduction of images was a central preoccupation of twentieth-century philosopher Walter Benjamin, who recognized that film wo, The Image In Dispute to your collection on WonderClub |