2. The Cinematic Dispositif (Between Apparatus Theory and Artists’ Cinema)

Chapters in this book

1. Frontmatter 1
2. Contents 7
3. Acknowledgements 13
4. General Introduction. Media Archaeology: Foucault’s Legacy 17
5. I. Early Cinema
6. 1. Film History as Media Archaeology 71
7. 2. The Cinematic Dispositif (Between Apparatus Theory and Artists’ Cinema) 101
8. II. The Challenge of Sound
9. 3. Going ‘Live’. Body and Voice in Some Early German Sound Films 139
10. 4. The Optical Wave. Walter Ruttmann in 1929 155
11. III. Archaeologies of Interactivity
12. 5. Archaeologies of Interactivity. The “Rube” as Symptom of Media Change 191
13. 6. Constructive Instability. or: The Life of Things as Cinema’s Afterlife? 209
14. IV. Digital Cinema
15. 7. Digital Cinema. Delivery, Event, Time 231
16. 8. Digital Cinema and the Apparatus. Archaeologies, Epistemologies, Ontologies 253
17. V. New Genealogies of Cinema
18. 9. The “Return” of 3D. On Some of the Logics and Genealogies of the Image in the Twenty-First Century 269
19. 10. Cinema, Motion, Energy, and Entropy 301
20. VI. Media Archaeology as Symptom
21. 11. Media Archaeology as the Poetics of Obsolescence 331
22. 12. Media Archaeology as Symptom 351
23. Media Archaeology – Selected Bibliography 389
24. Index of Film Titles 397
25. Index of Key Words 399
26. Index of Names 403
27. Film Culture in Transition 409