Buy Death 24X A Second by Laura Mulvey (ISBN: ) from Amazon’s Book Store. Everyday low prices and free delivery on eligible orders. In her fascinating Death 24x a Second, Laura Mulvey offers a particularly ingenious division of the history of cinema. In its first phase, she argues, cinema was. Death 24x a Second is a fascinating exploration of the role new media and narrative, Laura Mulvey here argues that such technologies, including home DVD.

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Death 24x a Second: Stillness and the Moving Image – Laura Mulvey – Google Books

About every fifteen years, it seems, contemporary film theory takes what is commonly called a Turn. When the initial magic of cinema gave way to a grubbier, more suspect kind of illusion, film theory including its semiotic and feminist wings needed to expose its workings, problematise its pleasure.

Account Options Sign in. The speed of 24x a second no longer necessarily obscures details of specific interest, just as the time of the index is no longer suspended ad infinitum. She was educated at St Hilda’s College, Seconx. At times, I feel that Mulvey confuses the virtual power of the digital age — i. Mulvey, for her part, expresses no explicitly negative laurw towards this new wave of film-and-philosophy in Death 24x a Second. This engagement involves the spectator in the living room no less than the United Nations in front of Colin Powell.

In truth, Mulvey has never ceased returning to, commenting upon, revising and expanding that early piece, in her essays, lectures and books including Visual and Other Pleasures and Fetishism and Curiosity No longer inscribing light xecond onto photosensitive material celluloiddigital recordings convert their objects into a numerical system.

It later appeared in a collection of her essays entitled Visual and Other Pleasures, as well as in numerous other anthologies.

She worked at the British Film Institute for many years before taking up her current position.

Death 24x a Second: Stillness and the Moving Image

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.

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To ask other readers questions about Death 24x a Secondplease sign up.

Want to Read Currently Reading Read. Adriana Melo rated it really liked it Oct 04, Srcond argues in Creative Evolution that movement can always be analysed after the fact, but that it cannot be understood to be built up out of the immobile sections which analysis may detect 2.

The manipulability of time is a tool, therefore, for the liberation of the looks of the camera and the viewer.

But even without bringing attention to itself, the projector gives to each and every analogue film a sense of an irreversible passing time, especially since, as Babette Mangolte pointed out 3the emulsion grain of each frame is always random and unique — the absence of which accounts for a missing temporal dimension in films shot with a digital camera. Want to Read saving…. Mulvey remains faithful to the pleasure — as much intellectual as cinematic — that got her into the game in the first place.

This neither means, however, that the shift is marked by a break, nor that Death 24x is politically less engaged. While film is undoubtedly as indexical as the still photograph, it absorbs the past-ness of the photographs into the present of its unfolding. Heidi Kitch rated it really liked it Jan 05, That paragraph continues as follows: This latter aspect intrigued Barthes with regard to photography: You can almost hear the exasperated collective sigh go up: It is possible to quibble here and there with details or tendencies in the book.

Trivia About Death 24x a Secon Death 24x a Second is a fascinating exploration of the role new media technologies play in our experience of film.

Death 24x a Second by Laura Mulvey from Reaktion Books

Stillness and the Moving Image by Laura Mulvey. As Peirce himself pointed out, the photograph is an indexical sign, meaning that it is directly caused by an object which is not itself present. What allows for the punctum is a separation, at that very moment of recording, of the eye of the photographer and the eye of the camera. To see what your friends thought of this book, please sign up.

Human perception is always selective, but a camera is indifferent and records whatever appears in front of its eye, without human intervention.

Tony rated it it was amazing Sep 03, The cinema may, in a sense, indeed be dead; but that means it is now a precious trace of the past that — as it comes alive for us again and differently on a digital support — we can reinterpret, remake and project into the future.


While movement and duration are always qualitative, with variable degrees of intensity and expansion, the reproduced movement in the cinema owes its animation to the movement of a mechanical projector — a movement which is always invariably the same.

As she wrote back in the day, the male look on the screen has a double, interrelated yet often conflicting effect on the spectator: This factor, however, concerns the camera look, not, or not so much, the look of the audience — in a pre-video era. Open Preview See a Problem?

The viewer is supposed to be confronted with an emanation of a past reality at the moment when the relation with reality had finally been broken. Mulvey’s contribution, however, inaugurated the intersection of film theory, psychoanalysis and feminism.

Camera Lucidallaura. Ultimately, however, I judge any sefond book by a simple test: Sudhir Mahadevan rated it liked it Apr 02, Except, now, technology has entered into aecond happy rendezvous with intellectual Utopia: In this respect, scopophilia visual pleasure increases at the expense of ego libido investment. 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.

This male look, Mulvey argued, tends to subordinate the look of the camera as it records the pro-filmic event as well as the look of the spectator. References to this book Non-representational Theory: Mulvey argues that the pause button, as much as other forms of delaying film, allows the relationship to the past to return. Not only can the viewer pause the film watched on video or DVD for a restroom or refill break at any moment, but secons can also be reviewed, both forwards and backwards, both accelerated and more importantly decelerated.

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