Patricia Pisters – författare
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23 produkter
23 produkter
Inbunden, Engelska, 2003
1 542 kr
Skickas inom 10-15 vardagar
This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.
Häftad, Engelska, 2003
356 kr
Skickas inom 5-8 vardagar
This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.
E-bok
Engelska, 2003429 kr
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This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.
Inbunden, Engelska, 2012
1 660 kr
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Arguing that today's viewers move through a character's brain instead of looking through his or her eyes or mental landscape, this book approaches twenty-first-century globalized cinema through the concept of the "neuro-image." Pisters explains why this concept has emerged now, and she elaborates its threefold nature through research from three domains—Deleuzian (schizoanalytic) philosophy, digital networked screen culture, and neuroscientific research. These domains return in the book's tripartite structure. Part One, on the brain as "neuroscreen," suggests rich connections between film theory, mental illness, and cognitive neuroscience. Part Two explores neuro-images from a philosophical perspective, paying close attention to their ontological, epistemological, and aesthetic dimensions. Political and ethical aspects of the neuro-image are discussed in Part Three. Topics covered along the way include the omnipresence of surveillance, the blurring of the false and the real and the affective powers of the neo-baroque, and the use of neuro-images in politics, historical memory, and war.
Häftad, Engelska, 2012
400 kr
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Arguing that today's viewers move through a character's brain instead of looking through his or her eyes or mental landscape, this book approaches twenty-first-century globalized cinema through the concept of the "neuro-image." Pisters explains why this concept has emerged now, and she elaborates its threefold nature through research from three domains—Deleuzian (schizoanalytic) philosophy, digital networked screen culture, and neuroscientific research. These domains return in the book's tripartite structure. Part One, on the brain as "neuroscreen," suggests rich connections between film theory, mental illness, and cognitive neuroscience. Part Two explores neuro-images from a philosophical perspective, paying close attention to their ontological, epistemological, and aesthetic dimensions. Political and ethical aspects of the neuro-image are discussed in Part Three. Topics covered along the way include the omnipresence of surveillance, the blurring of the false and the real and the affective powers of the neo-baroque, and the use of neuro-images in politics, historical memory, and war.
E-bok
Engelska, 2012437 kr
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Arguing that today's viewers move through a character's brain instead of looking through his or her eyes or mental landscape, this book approaches twenty-first-century globalized cinema through the concept of the "neuro-image." Pisters explains why this concept has emerged now, and she elaborates its threefold nature through research from three domains—Deleuzian (schizoanalytic) philosophy, digital networked screen culture, and neuroscientific research. These domains return in the book's tripartite structure. Part One, on the brain as "neuroscreen," suggests rich connections between film theory, mental illness, and cognitive neuroscience. Part Two explores neuro-images from a philosophical perspective, paying close attention to their ontological, epistemological, and aesthetic dimensions. Political and ethical aspects of the neuro-image are discussed in Part Three. Topics covered along the way include the omnipresence of surveillance, the blurring of the false and the real and the affective powers of the neo-baroque, and the use of neuro-images in politics, historical memory, and war.
E-bok
PDF, Engelska, 2025841 kr
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Louis Van Gasteren was one of the most prolific filmmakers in the history of the Netherlands, with a resume that includes nearly eighty documentaries and two feature films-to say nothing of artworks and books., Filming for the Future offers an extended exploration of Van Gasteren's work and audio-visual world. Patricia Pisters introduces us to a filmmaker who always had his camera ready and was relentless in filming a wide range of topics and events of national and international importance. Fascinated by technology, deeply engaged with politics, and intensely occupied by the traumatic effects of war, Van Gasteren assembled an unparalleled record of life in twentieth-century Amsterdam and beyond. Filming for the Future will be an invaluable source of documentation and analysis of one of the key filmmakers of our time.
E-bok
Engelska, 2025841 kr
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Louis Van Gasteren was one of the most prolific filmmakers in the history of the Netherlands, with a resume that includes nearly eighty documentaries and two feature films-to say nothing of artworks and books., Filming for the Future offers an extended exploration of Van Gasteren's work and audio-visual world. Patricia Pisters introduces us to a filmmaker who always had his camera ready and was relentless in filming a wide range of topics and events of national and international importance. Fascinated by technology, deeply engaged with politics, and intensely occupied by the traumatic effects of war, Van Gasteren assembled an unparalleled record of life in twentieth-century Amsterdam and beyond. Filming for the Future will be an invaluable source of documentation and analysis of one of the key filmmakers of our time.
E-bok
Engelska, 2013545 kr
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This volume assembles some of the most distinguished scholars in the field of Deleuze studies in order to provide both an accessible introduction to key concepts in Deleuze's thought and to test them in view of the issue of normativity. This includes not only the law, but also the question of norms and values in the broader ethical, political and methodological sense. The volume argues that Deleuze's philosophy rejects the unitary vision of the subject as a self-regulating rationalist entity and replaces it with a process-oriented relational vision of the subject. But what can we do exactly with this alternative nomadic vision? What modes of normativity are available outside the parameters of liberal, self-reflexive individualism on the one hand and the communitarian model on the other? This interdisciplinary volume explores these issues in three directions that mirror Deleuze and Guattari's defense of the parallelism between philosophy, science, and the arts. The volume therefore covers socio-political and legal theory; the epistemological critique of scientific discourse and the cultural, artistic and aesthetic interventions emerging from Deleuze's philosophy.
Inbunden, Engelska, 2012
2 091 kr
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This volume assembles some of the most distinguished scholars in the field of Deleuze studies in order to provide both an accessible introduction to key concepts in Deleuze's thought and to test them in view of the issue of normativity. This includes not only the law, but also the question of norms and values in the broader ethical, political and methodological sense. The volume argues that Deleuze's philosophy rejects the unitary vision of the subject as a self-regulating rationalist entity and replaces it with a process-oriented relational vision of the subject. But what can we do exactly with this alternative nomadic vision? What modes of normativity are available outside the parameters of liberal, self-reflexive individualism on the one hand and the communitarian model on the other? This interdisciplinary volume explores these issues in three directions that mirror Deleuze and Guattari's defense of the parallelism between philosophy, science, and the arts. The volume therefore covers socio-political and legal theory; the epistemological critique of scientific discourse and the cultural, artistic and aesthetic interventions emerging from Deleuze's philosophy.
E-bok
PDF, Engelska, 2012545 kr
Läs direkt efter köp
This volume assembles some of the most distinguished scholars in the field of Deleuze studies in order to provide both an accessible introduction to key concepts in Deleuze's thought and to test them in view of the issue of normativity. This includes not only the law, but also the question of norms and values in the broader ethical, political and methodological sense. The volume argues that Deleuze's philosophy rejects the unitary vision of the subject as a self-regulating rationalist entity and replaces it with a process-oriented relational vision of the subject. But what can we do exactly with this alternative nomadic vision? What modes of normativity are available outside the parameters of liberal, self-reflexive individualism on the one hand and the communitarian model on the other? This interdisciplinary volume explores these issues in three directions that mirror Deleuze and Guattari's defense of the parallelism between philosophy, science, and the arts. The volume therefore covers socio-political and legal theory; the epistemological critique of scientific discourse and the cultural, artistic and aesthetic interventions emerging from Deleuze's philosophy.
Häftad, Engelska, 2014
507 kr
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This volume assembles some of the most distinguished scholars in the field of Deleuze studies in order to provide both an accessible introduction to key concepts in Deleuze's thought and to test them in view of the issue of normativity. This includes not only the law, but also the question of norms and values in the broader ethical, political and methodological sense. The volume argues that Deleuze's philosophy rejects the unitary vision of the subject as a self-regulating rationalist entity and replaces it with a process-oriented relational vision of the subject. But what can we do exactly with this alternative nomadic vision? What modes of normativity are available outside the parameters of liberal, self-reflexive individualism on the one hand and the communitarian model on the other? This interdisciplinary volume explores these issues in three directions that mirror Deleuze and Guattari's defense of the parallelism between philosophy, science, and the arts. The volume therefore covers socio-political and legal theory; the epistemological critique of scientific discourse and the cultural, artistic and aesthetic interventions emerging from Deleuze's philosophy.
Inbunden, Engelska, 2020
1 330 kr
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Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadžihalilović and Ana Lily Amirpour, who put ‘a poetics of horror’ to new use in their work, expanding the range of gendered and racialised perspectives in the horror genre. Exploring themes such as rage, trauma, sexuality, family ties and politics, New Blood in Contemporary Cinema takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre.
Häftad, Engelska, 2022
287 kr
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Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Had ihalilovi? and Ana Lily Amirpour, who put 'a poetics of horror' to new use in their work, expanding the range of gendered and racialized perspectives in the horror genre. Exploring themes such as rage, trauma, sexuality, family ties and politics, New Blood in Contemporary Cinema takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre.
E-bok
PDF, Engelska, 2020362 kr
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Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadžihalilović and Ana Lily Amirpour, who put ‘a poetics of horror’ to new use in their work, expanding the range of gendered and racialised perspectives in the horror genre. Exploring themes such as rage, trauma, sexuality, family ties and politics, New Blood in Contemporary Cinema takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre.
E-bok
Engelska, 2020362 kr
Läs direkt efter köp
Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadžihalilović and Ana Lily Amirpour, who put ‘a poetics of horror’ to new use in their work, expanding the range of gendered and racialised perspectives in the horror genre. Exploring themes such as rage, trauma, sexuality, family ties and politics, New Blood in Contemporary Cinema takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre.
Inbunden, Engelska, 2027
1 520 kr
Kommande
French philosopher Michel Serres' English translation explores the relationship between random sounds, music and meaning.In his book Musique, Michel Serres asks himself: where do the sounds of the world come from? The sounds of nature, animals, human beings? And where does music come from? Available for the first time in English, this book practices its title as much as it rethinks it, offering a sound analysis of everything. Music, this way, is not limited to melodies, harmonies and rhythms, but echoes just as well the life of Jesus, the mathematics of the Earth and a theory of everything.The key here is the concept of tension, in French etymologically related to both time (temps) and space (étendue), which allows Serres to conceptualize music as a universal force, as undetermined and ‘white’ (the combination of every possible color), that gives rise to both time and space, both matter and the immaterial, whose movements shape the world as we know it. In line with both the oldest theories of nature (Lucretius) and the newest ones (string theory), Serres offers us a reading of music that therefore resonates with all the fields of knowledge.
Inbunden, Engelska, 2016
1 872 kr
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The first monograph of the work of one of the Netherlands' most prolific filmmakers spanning sixty years of cultural history.
Häftad, Engelska, 2015
753 kr
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The first monograph of the work of one of the Netherlands' most prolific filmmakers spanning sixty years of cultural history.
Inbunden, Engelska, 2026
1 327 kr
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A Cinematic Mode of Existence studies what images can do. Can the percepts and affects that cinematic images engender shape our eyes anew, by which we do not just see differently, but see different things and different worlds with many eyes? Expanding on Gilles Deleuze’s work on cinema, the book practices a new, perspectival analytic of the image honed to movement. In doing immanent analyses of numerous filmic works, the book blows wide open cinema’s modern constitution, its all-too-narrow, anthropocentric operative logic, and the natural mode of perception underlying it. A spiritual automaton, an extraordinary machine for perspectives, a cosmopolitical medium for the more-than-human – cinema far exceeds what we have dogmatically held it for, and only in starting to see that can we learn to live with its images in ways that they do not just haunt and possess us.
Inbunden, Engelska, 2027
1 839 kr
Kommande
Repeat After Me: Song Lyrics as / and Technology explores the popular song not as a poetic artifact or cultural symptom, but as a technological form, approaching lyrics as part of a wider ecology that includes sound recording, data flows, streaming platforms, and listening habits.This book illuminates what happens when we stop treating lyrics as literary texts and start seeing them as elements within a media environment shaped by repetition, inscription, and playback. Spanning case studies from Bryan Ferry to Syd Barrett and John Cale, and drawing on thinkers from Adorno and McLuhan to Kittler and Szendy, the book offers a new framework for understanding how lyrics function in the context of media history. It asks how lyrics work when repeated, misheard, looped, or archived, when they no longer tell stories but structure attention, emotional timing, and user behavior.This is not a book about what lyrics mean but about what they do: how they move us, position us, and sometimes lose us. As we navigate an era increasingly shaped by algorithmic short content, the pop song remains one of the most ubiquitous and underestimated technologies of feeling, memory, and repetition.Structured as a series of interconnected essays, Repeat After Me moves between close listening, media theory, and personal reflection. It traces how the ancient form of song converges with modern systems of storage and circulation from vinyl and magnetic tape to AI recommendation engines.
Inbunden, Engelska, 2027
1 565 kr
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The Rustling Image discusses the aesthetic, philosophical, and political resonances of low-resolution digital images in connection to the popular and wider use of mobile phone cameras through the case study of citizen journalists and political activists during the Syrian civil war.This book describes the witnessing techniques of low-resolution mobile phone images, focusing on the way in which citizen journalists, activists, and film collectives found alternative means by which to document the Syrian civil war during a special period in media history – that of the western media being mostly unable to obtain access to Syria. Such blurry and pixilated images, which often fail to verify what they are meant to prove, are not simply the result of technological limitations. Rather, they have been embraced as an aesthetic of resistance that seeks to distinguish itself from the clearer and sharper HD and 4K sensibility that characterizes the western hegemonic media corporations’ coverage of news events. This book highlights that the role of blurry and underexposed images is to make us aware that there is a category of witnessing whose purpose is to reveal the significance of what is not visible; and to make us understand the sense of uncertainty that we feel towards our own inability to comprehend events that have been spiraling out of control in our post-truth world.
- Nyhet
Inbunden, Engelska, 2026
1 258 kr
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This book introduces a novel conceptualization of “new-wave cinema” as a borderless phenomenon, akin to a “wave” that crashes upon established film aesthetics in a certain society. Using Niklas Luhmann's systems theory, the book explores the correlation between the rise of new-wave cinema and the societal conflicts contemporaneous with its inception.The term “new-wave cinema,” historically attributed by film critics to specific film collections within different societies, has lacked universal applicability in film scholarship. This book identifies the defining criterion of the new wave not solely within its specific aesthetics but in the transformative “break” that these aesthetic properties effectuate upon the prevailing filmic communication. This “break” extends beyond singular films, manifesting within a substantial cohort, thereby justifying the label “wave.” Notably, this “wave” does not materialize as a result of a collective decision by filmmakers but rather in correlation with the societal “contradictions and conflicts” prevailing during the emergence of new-wave films.This book delineates how the resonance of societal contradictions and conflicts in films, as a subsystem of art, can catalyze three different reactions to existing aesthetic and narrative traditions, thereby giving birth to new cinematic waves. The analysis concentrates on three paradigmatic new-wave cinemas spanning three continents, namely New German Cinema, New Hollywood, and New Iranian Cinema, illustrating the universality of its thesis despite the aesthetic differences among the cinematic movements commonly labeled as “new wave” in film scholarship.