The Resource The cinema and its shadow : race and technology in early cinema, Alice Maurice
The cinema and its shadow : race and technology in early cinema, Alice Maurice
Resource Information
The item The cinema and its shadow : race and technology in early cinema, Alice Maurice represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of Missouri Libraries.This item is available to borrow from 1 library branch.
Resource Information
The item The cinema and its shadow : race and technology in early cinema, Alice Maurice represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of Missouri Libraries.
This item is available to borrow from 1 library branch.
- Summary
- The Cinema and Its Shadow argues that race has defined the cinematic apparatus since the earliest motion pictures, especially at times of technological transition. In particular, this work explores how racial difference became central to the resolving of cinematic problems: the stationary camera, narrative form, realism, the synchronization of image and sound, and, perhaps most fundamentally, the immaterial image--the cinema's "shadow," which figures both the material reality of the screen image and its racist past. Discussing early "race subjects," Alice Maurice demonstrates that these films influenced cinematic narrative in lasting ways by helping to determine the relation between stillness and motion, spectacle and narrative drive. The book examines how motion picture technology related to race, embodiment, and authenticity at specific junctures in cinema's development, including the advent of narratives, feature films, and sound. In close readings of such films as The Cheat, Shadows, and Hallelujah!, Maurice reveals how the rhetoric of race repeatedly embodies film technology, endowing it with a powerful mix of authenticity and magic. In this way, the racialized subject became the perfect medium for showing off, shoring up, and reintroducing the cinematic apparatus at various points in the history of American film. Moving beyond analyzing race in purely thematic or ideological terms, Maurice traces how it shaped the formal and technological means of the cinema
- Language
- eng
- Extent
- pages cm.
- Contents
-
- Introduction: embodying cinema
- Performing body, performing image: race and the boundaries of early cinematic narrative
- Face, race, and screen: close-ups and the transition to the feature film
- Recasting shadows: race, image, and audience
- "Cinema at its source": synchronizing race and sound in the early talkies
- Conclusion: red, white, and blue: digital cinema, race, and avatar
- Isbn
- 9780816678051
- Label
- The cinema and its shadow : race and technology in early cinema
- Title
- The cinema and its shadow
- Title remainder
- race and technology in early cinema
- Statement of responsibility
- Alice Maurice
- Language
- eng
- Summary
- The Cinema and Its Shadow argues that race has defined the cinematic apparatus since the earliest motion pictures, especially at times of technological transition. In particular, this work explores how racial difference became central to the resolving of cinematic problems: the stationary camera, narrative form, realism, the synchronization of image and sound, and, perhaps most fundamentally, the immaterial image--the cinema's "shadow," which figures both the material reality of the screen image and its racist past. Discussing early "race subjects," Alice Maurice demonstrates that these films influenced cinematic narrative in lasting ways by helping to determine the relation between stillness and motion, spectacle and narrative drive. The book examines how motion picture technology related to race, embodiment, and authenticity at specific junctures in cinema's development, including the advent of narratives, feature films, and sound. In close readings of such films as The Cheat, Shadows, and Hallelujah!, Maurice reveals how the rhetoric of race repeatedly embodies film technology, endowing it with a powerful mix of authenticity and magic. In this way, the racialized subject became the perfect medium for showing off, shoring up, and reintroducing the cinematic apparatus at various points in the history of American film. Moving beyond analyzing race in purely thematic or ideological terms, Maurice traces how it shaped the formal and technological means of the cinema
- Cataloging source
- DLC
- http://library.link/vocab/creatorName
- Maurice, Alice
- Dewey number
- 791.43/6552
- Government publication
- government publication of a state province territory dependency etc
- Index
- index present
- LC call number
- PN1995.9.M56
- LC item number
- M38 2013
- Literary form
- non fiction
- Nature of contents
-
- bibliography
- filmographies
- http://library.link/vocab/subjectName
-
- Minorities in motion pictures
- Race in motion pictures
- Motion picture industry
- Label
- The cinema and its shadow : race and technology in early cinema, Alice Maurice
- Bibliography note
-
- Includes filmography
- Includes bibliographical references and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier.
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent.
- Contents
- Introduction: embodying cinema -- Performing body, performing image: race and the boundaries of early cinematic narrative -- Face, race, and screen: close-ups and the transition to the feature film -- Recasting shadows: race, image, and audience -- "Cinema at its source": synchronizing race and sound in the early talkies -- Conclusion: red, white, and blue: digital cinema, race, and avatar
- Control code
- 816563784
- Extent
- pages cm.
- Isbn
- 9780816678051
- Isbn Type
- (pb : alk. paper)
- Lccn
- 2012043821
- Media category
- unmediated
- Media MARC source
- rdamedia.
- Media type code
-
- n
- System control number
- (OCoLC)816563784
- Label
- The cinema and its shadow : race and technology in early cinema, Alice Maurice
- Bibliography note
-
- Includes filmography
- Includes bibliographical references and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier.
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent.
- Contents
- Introduction: embodying cinema -- Performing body, performing image: race and the boundaries of early cinematic narrative -- Face, race, and screen: close-ups and the transition to the feature film -- Recasting shadows: race, image, and audience -- "Cinema at its source": synchronizing race and sound in the early talkies -- Conclusion: red, white, and blue: digital cinema, race, and avatar
- Control code
- 816563784
- Extent
- pages cm.
- Isbn
- 9780816678051
- Isbn Type
- (pb : alk. paper)
- Lccn
- 2012043821
- Media category
- unmediated
- Media MARC source
- rdamedia.
- Media type code
-
- n
- System control number
- (OCoLC)816563784
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<div class="citation" vocab="http://schema.org/"><i class="fa fa-external-link-square fa-fw"></i> Data from <span resource="http://link.library.missouri.edu/portal/The-cinema-and-its-shadow--race-and-technology/1PjvAyhRXQw/" typeof="Book http://bibfra.me/vocab/lite/Item"><span property="name http://bibfra.me/vocab/lite/label"><a href="http://link.library.missouri.edu/portal/The-cinema-and-its-shadow--race-and-technology/1PjvAyhRXQw/">The cinema and its shadow : race and technology in early cinema, Alice Maurice</a></span> - <span property="potentialAction" typeOf="OrganizeAction"><span property="agent" typeof="LibrarySystem http://library.link/vocab/LibrarySystem" resource="http://link.library.missouri.edu/"><span property="name http://bibfra.me/vocab/lite/label"><a property="url" href="http://link.library.missouri.edu/">University of Missouri Libraries</a></span></span></span></span></div>
