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Strategies of Digital Surrealism in ...

ProQuest Information and Learning Co.

Strategies of Digital Surrealism in Contemporary Western Cinema.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Strategies of Digital Surrealism in Contemporary Western Cinema./
Author:	Kartashov, Andrei.
Description:	1 online resource (86 pages)
Notes:	Source: Masters Abstracts International, Volume: 57-06.
Contained By:	Masters Abstracts International57-06(E).
Subject:	Film studies. -
Online resource:	click for full text (PQDT)
ISBN:	9780438108547

Strategies of Digital Surrealism in Contemporary Western Cinema.
Kartashov, Andrei.

Strategies of Digital Surrealism in Contemporary Western Cinema. - 1 online resource (86 pages)

Source: Masters Abstracts International, Volume: 57-06.

Thesis (M.A.)--University of Kansas, 2018.

Includes bibliographical references

This thesis joins an ongoing discussion of cinema's identity in the digital age. The new technology, which by now has become standard for moving images of any kind, has put into question existing assumptions and created paradoxes from a continuity between two different media that are, however, thought of as one medium. I address that problem from the perspective of surrealist film theory, which insisted on paradoxes and saw cinema as an art form that necessarily operated on contradictions: a quality that resonated with surrealism's general aesthetic theory. To support my argument, I then analyze in some depth three contemporary works of cinema that possess surrealist attributes and employed digital technology in their making in a self-conscious way. Leos Carax's Holy Motors, Pedro Costa's Horse Money, and Seances by Guy Maddin, Evan Johnson and Galen Johnson all point to specific contradictions revealed by digital technology that they resolve, or hold in tension, in accordance with the surrealist notion of point sublime. I find that neither work suggests a radical difference between analog and digital cinema but rather, they highlight the difference that exists within cinema as inherent in it.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780438108547Subjects--Topical Terms:

1179264
Film studies.
Index Terms--Genre/Form:

554714
Electronic books.

Strategies of Digital Surrealism in Contemporary Western Cinema.
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035 $a (MiAaPQ)ku:15871
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100 1 $a Kartashov, Andrei. $3 1193919
245 1 0 $a Strategies of Digital Surrealism in Contemporary Western Cinema.
264 0 $c 2018
300 $a 1 online resource (86 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Masters Abstracts International, Volume: 57-06.
500 $a Adviser: Catherine Preston.
502 $a Thesis (M.A.)--University of Kansas, 2018.
504 $a Includes bibliographical references
520 $a This thesis joins an ongoing discussion of cinema's identity in the digital age. The new technology, which by now has become standard for moving images of any kind, has put into question existing assumptions and created paradoxes from a continuity between two different media that are, however, thought of as one medium. I address that problem from the perspective of surrealist film theory, which insisted on paradoxes and saw cinema as an art form that necessarily operated on contradictions: a quality that resonated with surrealism's general aesthetic theory. To support my argument, I then analyze in some depth three contemporary works of cinema that possess surrealist attributes and employed digital technology in their making in a self-conscious way. Leos Carax's Holy Motors, Pedro Costa's Horse Money, and Seances by Guy Maddin, Evan Johnson and Galen Johnson all point to specific contradictions revealed by digital technology that they resolve, or hold in tension, in accordance with the surrealist notion of point sublime. I find that neither work suggests a radical difference between analog and digital cinema but rather, they highlight the difference that exists within cinema as inherent in it.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Film studies. $3 1179264
655 7 $a Electronic books. $2 local $3 554714
690 $a 0900
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a University of Kansas. $b Film & Media Studies. $3 1193920
773 0 $t Masters Abstracts International $g 57-06(E).
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10814314 $z click for full text (PQDT)

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