The Rise of the Image, the Fall of the WordOxford University Press, 08.10.1998 - 272 Seiten For decades educators and cultural critics have deplored the corrosive effects of electronic media on the national consciousness. The average American reads less often, writes less well. And, numbed by the frenetic image-bombardment of music videos, commercials and sound bites, we may also, it is argued, think less profoundly. But wait. Is it just possible that some good might arise from the ashes of the printed word? Most emphatically yes, argues Mitchell Stephens, who asserts that the moving image is likely to make our thoughts not more feeble but more robust. Through a fascinating overview of previous communications revolutions, Stephens demonstrates that the charges that have been leveled against television have been faced by most new media, including writing and print. Centuries elapsed before most of these new forms of communication would be used to produce works of art and intellect of sufficient stature to overcome this inevitable mistrust and nostalgia. Using examples taken from the history of photography and film, as well as MTV, experimental films, and Pepsi commercials, the author considers the kinds of work that might unleash, in time, the full power of moving images. And he argues that these works--an emerging computer-edited and -distributed "new video"--have the potential to inspire transformations in thought on a level with those inspired by the products of writing and print. Stephens sees in video's complexities, simultaneities, and juxtapositions, new ways of understanding and perhaps even surmounting the tumult and confusions of contemporary life. Sure to spark lively--even heated--debate, The Rise of the Image, the Fall of the Word belongs in the library of millennium-watchers everywhere. |
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... sound familiar. The first part of this book, consequently, spends much of its time with subjects that do not often find their way into discussions of television: onehundred to fivethousandyearold episodes in the history of the word. The ...
... sound familiar. The first part of this book, consequently, spends much of its time with subjects that do not often find their way into discussions of television: onehundred to fivethousandyearold episodes in the history of the word. The ...
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... sounds: The name of the Egyptian king Narmer, who reigned around 3150 B.C., was indicated, for example, by the character for a catfish, pronounced with the consonents nr, and that for a sculptor's chisel, mr.6 Writing, in other words ...
... sounds: The name of the Egyptian king Narmer, who reigned around 3150 B.C., was indicated, for example, by the character for a catfish, pronounced with the consonents nr, and that for a sculptor's chisel, mr.6 Writing, in other words ...
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... sound—“chromatic tortures.”24 The theater? For the young Ralph Waldo Emerson it was “the sewer in which the rebellious vices exhaust themselves.”25 Henry David Thoreau was one of the more vehement and consistent critics of the new. In ...
... sound—“chromatic tortures.”24 The theater? For the young Ralph Waldo Emerson it was “the sewer in which the rebellious vices exhaust themselves.”25 Henry David Thoreau was one of the more vehement and consistent critics of the new. In ...
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... sound track of Natural Born Killers, Leonard Cohen's low, hoarse voice announces that “the blizzard of the world has crossed the threshold.” Might a film like this, with its gusts and swirls, provide us with new ways not only of ...
... sound track of Natural Born Killers, Leonard Cohen's low, hoarse voice announces that “the blizzard of the world has crossed the threshold.” Might a film like this, with its gusts and swirls, provide us with new ways not only of ...
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Alan Kay American appear art form artists audiences Bazin began begin Berrent Bob Schieffer Boorstin Braverman Brecht broadcast Bruce Conner cable camera century certainly channels Chapter cinema Cited closeup commercial Conner culture D.W. Griffith David Dickens early editing Elizabeth Eisenstein example fast cutting film filmmakers Flaubert form of communication Griffith Hank Corwin imitation invention Jean Renoir kind language less look Madame Bovary Magazine magic Mark Pellington McGuire Sisters McKibben means medium metaphor montage motion moving images music videos narrative Natural Born Killers networks novel onscreen perhaps perspective photographs Plato play Pope potential printed words produced programs Prospero’s Raymond Williams Renoir scenes Scher screen seconds seems sequence Sergei Eisenstein shot sometimes sound soundbites Stephens stories techniques technologies Telephone interview television television’s theater There’s Thoth thought Trainspotting Translated videotape viewers watch writing wrote York young