Read Death 24x a Second: Stillness and the Moving Image by Laura Mulvey Free Online
Book Title: Death 24x a Second: Stillness and the Moving Image|
The author of the book: Laura Mulvey
ISBN 13: 9781861892638
Format files: PDF
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Reader ratings: 7.4
The size of the: 620 KB
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Edition: Reaktion Books
Date of issue: March 1st 2006
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Death 24x a Second is a fascinating exploration of the role new media technologies play in our experience of film. Addressing some of the key questions of film theory, spectatorship, and narrative, Laura Mulvey here argues that such technologies, including home DVD players, have fundamentally altered our relationship to the movies.
According to Mulvey, new media technologies give viewers the ability to control both image and story, so that movies meant to be seen collectively and followed in a linear fashion may be manipulated to contain unexpected and even unintended pleasures. The individual frame, the projected film’s best-kept secret, can now be revealed by anyone who hits pause. Easy access to repetition, slow motion, and the freeze-frame, Mulvey argues, may shift the spectator’s pleasure to a fetishistic rather than a voyeuristic investment in film.
By exploring how technology can give new life to old cinema, Death 24x a Second offers an original reevaluation of film’s history and its historical usefulness.
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Read information about the authorLaura Mulvey is a British feminist film theorist. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She worked at the British Film Institute for many years before taking up her current position.
Mulvey is best known for her essay, "Visual Pleasure and Narrative Cinema", written in 1973 and published in 1975 in the influential British film theory journal Screen. It later appeared in a collection of her essays entitled Visual and Other Pleasures, as well as in numerous other anthologies. Her article, which was influenced by the theories of Sigmund Freud and Jacques Lacan, is one of the first major essays that helped shift the orientation of film theory towards a psychoanalytic framework. Prior to Mulvey, film theorists such as Jean-Louis Baudry and Christian Metz used psychoanalytic ideas in their theoretical accounts of the cinema. Mulvey's contribution, however, inaugurated the intersection of film theory, psychoanalysis and feminism.
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