PUBLIC MARKS with search cinema

Mass communication is a phrase that’s been re-defined over the centuries, as tools to transfer what people think, what they want and how they feel have developed with human progress. Cave paintings, language, stone indentations, the written word, the printing press, the gramophone, the telephone, cinema, radio, television, computers – and now the Internet.

It would seem that such banal, pedestrian knowledges as the experience sof drinking tea and walking around with a group to the cinema hall is a subject unworthy of theorizing. Many would argue that the purpose of doing fieldwork is not to watch films at the Nava Durga Chitra Mandir, but to investigate the Naudruga dance troupe.But in response I would argue that to de -colonize the city, that is to demonstrate how lived tradition actually serves as a effective social formation, it is these very low-level ground experiences that need to be studied. I will refer to the situated experience of the walker as "pedestrian knowledges."

Foreword (144K)

Part One: The Audience and the Myth of Entertainment (156K)

Part Two: Synaesthetic Cinema: The End of Drama (688K)

Part Three: Toward Cosmic Consciousness (355K)

Part Four: Cybernetic Cinema and Computer Films (883K)

Part Five: Television as a Creative Medium (764K)

Part Six: Intermedia (666K)

Part Seven: Holographic Cinema: A New World (212K)

Bibliography (68K)

Index (44K)

Color Plates (866K)

OR

The Whole Book (4.6M)

"Classic Hong Kong and Japanese action scenes were 'expressionistic' in the sense that their larger-than-life balletics and aerobatics amplified recognizable (if extreme) possibilities of the human body," writes David Bordwell. "The result was a carnal cinema, in which shooting and cutting aimed to enlarge and prolong graceful movement. By contrast, Hollywood action scenes became 'impressionistic,' rendering a combat or pursuit as a blurred confusion. We got a flurry of cuts calibrated not in relation to each other or to the action but suggesting in their flurry a vast busyness. Here camerawork and editing didn't serve the specificity of the action but overwhelmed, even buried it."

Top 100 films of all time, according to Les Cahiers du Cinema