Introduction. Le réel, c'est l'impossible: The sublime time of special effects

Screen

Volumn 40, Issue 2, 1999, Pages 123-130

  Cubitt, Sean ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61049158844     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/40.2.123     Document Type: Editorial

References (28)

1. Christian Metz, 'Trucage and the film', Critical Inquiry (Summer 1977), pp. 657-75
2. See, especially, Harold A. Innis, The Bias of Communication (Toronto: University of Toronto Press, 1951)
3. Empire and Communications, revised Mary Q Innis (Toronto: University of Toronto Press, 1972)
4. Notably in Marshall McLuhan, The Gutenberg Galaxy (London: Routledge and Kegan Paul, 1962)
5. Understanding Media: the Extensions of Man (London: Sphere, 1964)
6. See: Friedrich Kittler, 'Gramophone, film, typewriter', trans. Dorothe von Mücke, in October, no. 41 (Summer 1987), pp. 101-18
7. Discourse Networks 1800/1900, trans. Michael Metteer with Chris Cullens (Stanford, CT: Stanford University Press, 1990)
8. in J. Johnston (ed.), Literature, Media, Information Systems: Essays (Amsterdam: G+B Arts International, 1997)
9. Notably in Régis Debray, Cours de médiologie générale (Paris: NRF, 1991)
10. Manifestes médiologiques (Paris: Gallimard, 1994)
11. See for example: Kevin Kelly, Out of Control: the New Biology of Machines (London: Fourth Estate, 1994)
12. Howard Rheingold, The Virtual Community: Homesteading on the Electronic Frontier (New York: HarperCollins, 1993)
13. Nicholas Negroponte, Being Digital (London: Coronet, 1995)
14. Jean Baudrillard, 'The precession of simulacra', in Simulations, trans. Paul Foss (New York: Semiotoxt(e), 1983), p. 8
15. Paul Virilio, The Vision Machine, trans. Julie Rose (London: British Film Institute, 1994], p. 76
16. Jacques Derrida, Speech and Phenomena, trans. David B Allison (Evanston, IL: Northwestern University Press, 1973), pp. 60-69
17. Rosalind E. Krauss, The Optical Unconscious (Cambridge, MA: MIT Press, 1993), p. 215
18. Walter Benjamin, 'The work of art in the age of mechanical reproduction', in Hannah Arendt (ed.), Illuminations, trans. Harry Zohn (New York: Schocken, 1969), p. 237
19. Gianni Vattimo, The End of Modernity: Nihilism and Hermeneutics in Post-Modern Culture, trans. Jon R. Snyder (Cambridge: Polity Press, 1988), p. 46
20. Dudley Andrew, Concepts in Film Theory (Oxford: Oxford University Press, 1984), p. 190
21. The morph is also the central figure in a remarkable forthcoming collection of essays edited by Vivian Sobchack, Meta-Morphing: Visual Transformation and the Culture of Quick Change (Minneapolis, MN: University of Minnesota Press, forthcoming 1999/2000)
22. Andrew, Concepts in Film Theory, p. 188
23. citing Nelson Goodman, Languages of Art (Indianapolis, IN: Hackett, 1977), pp. 51-66
24. See for example Omar Calabrese, Neo-Baroque: a Sign of the Times, trans. Charles Lambert (Princeton, NJ: Princeton University Press, 1992)
25. Christine Buci-Glucksmann, Baroque Reason: the Aesthetics of Modernity, trans. Patrick Camiller (London: Sage, 1994)
26. Gilles Deleuze, The Fold: Leibniz and the Baroque, trans. Tom Conley (London: Athlone, 1993)
27. Les Manovich, What is digital cinema?', in Peter Lunenfeld (ed.), The Digital Dialectics: New Essays on New Media (Cambridge, MA: MIT Press, 1999 forthcoming). Published online at http://jupiter.ucsd.edu/manovich/text/digital- cinema.html
28. Martin Heidegger, Being and Time, trans. John MacQuarrie and Edward Robinson (Oxford: Basil Blackwell, 1962), esp. pp. 279-311