دانلود کتاب Forms of the Cinematic: Architecture, Science, and the Arts

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Title Page\nCopyright Page\nContents\nFigures\nContributors\nForms of the cinematic: An introduction\n References\nPart 1: Rethinking: from Idea to Structure\n Chapter 1: Idea and image\n Chapter 2: The screen as barrier and support: Monitoring, projection and perfectionism in Brad Bird’s Tomorrowland: A World Beyond (2015)\n Chapter 3: Surface thoughts: On the look of cinema\n Films, non-philosophy and Laruelle\n Thinking democracy\n A film of philosophy\n A behavioural tangent: Being true to the idea (a film du Look)\n Conclusion: How to behave like a film philosopher\n Chapter 4: The film event: From Bazin to Deleuze\nPart 2: Revisualizing: from the Tangible to the Intangible\n Chapter 5: What film studies is: Mapping the discipline\n Surveying the discipline\n Film theory/criticism\n Film and philosophy\n Film and modern languages\n Identity\n Chapter 6: A cinematic aided design approach and the need for (in)-disciplinarity\n Film as a site of post-occupancy studies\n Understanding everyday life through cinema\n Data mining the filmic archive\n An architectonics of cinema\n Detecting cinematic cultural differences: Descola’s ontologies\n A new digital methodology to analyse filmic data\n Systematic analysis of spatial cultural differences\n Practice-based approaches to spatial cultural differences\n Conclusion\n Acknowledgements\n Chapter 7: Microcinematography and biomedical science\n Acknowledgements\n Chapter 8: Cinematic forms and cultural heritage\n Olden times\n Beyond cinema: Simulation and immersion\n Interpretation\n History, myth, cultural heritage and audiovisual media: Focusing on women\n Keeping up with the times\nPart 3: Reconstructing: from Writing to Architecture\n Chapter 9: The modulation of emphasis: Screenwriting as a literary art\n An expanded notion of ‘writing’\n Audiences: The screenplay as time-specific address\n Affect: The screenplay as empirical experience\n Duration: The screenplay as a sequence of prompts of varying emphasis\n Conclusion: Screenwriting as a model for the performativity of all writing\n Chapter 10: Mapping Andrei Tarkovsky’s Stalker: An architectural exploration of the ‘Zone’\n Locating the pro-filmic space\n The choreography of the three-dimensional plateau\n Beyond the Zone\n The Zone\n The Battlefield\n The Dry Tunnel\n The Meatgrinder, the Sand-dunes Shed and the Room\n In lieu of conclusions: Framing the landscape\n Chapter 11: Architecture Beyond Sight: Filming blindness\n Acknowledgements\n Chapter 12: Towards an architecture of the cinematic\nIndex