7 Crash Aesthetics: Amores Perros and the Dream of Cinematic Mobility

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Acknowledgments vii
4. Introduction 1
5. ONE BEYOND REFERENTIALITY
6. 1 What’s the Point of an Index? or, Faking Photographs 23
7. 2 “The Forgotten Image between Two Shots”: Photos, Photograms, and the Essayistic 41
8. Structural Film: Noise 62
9. TWO NATION , MEMORY, HISTORY
10. 4 An Essay on Calendar 93
11. 5 Photography’s Absent Times 98
12. 6 The Idea of Still 119
13. 7 Crash Aesthetics: Amores Perros and the Dream of Cinematic Mobility 134
14. 8 Surplus Memories: From the Slide Show to the Digital Bulletin Board in Jim Mendiola’s Speeder Kills 158
15. THREE WORKING BETWEEN MEDIA
16. 9 Photography’s Expanded Field 175
17. 10 Weekend Campus 189
18. 11 Aleph Beat: Wallace Berman between Photography and Film 196
19. 12 Mental Images: The Dramatization of Psychological Disturbance 226
20. 13 Concerning “the Photographic” 253
21. References 277
22. Contributors 293
23. Index 297