Chapters in this book

1. Frontmatter i
2. CONTENTS vii
3. ACKNOWLEDGMENTS xi
4. PREFACE TO THE REVISED EDITION xiii
5. PREFACE xix
6. 1. ACCELERATIONISM 1
7. 2. THE ADORNO PARADOX 4
8. 3. AGAINST METHOD 6
9. 4. ANALOG/DIGITAL SPLICE 9
10. 5. BLOOD, SIMPLE 13
11. 6. BOREDOM AND ANALOG NOSTALGIA 16
12. 7. THE DIGITAL SPECTACULAR 19
13. 8. DISPOSABLE AESTHETICS 22
14. 9. DV HUMANISM 25
15. 10. FILMLESS FILMS 34
16. 11. FRAME DRAGGING 38
17. 12. THE IDEOLOGY OF THE LONG TAKE 43
18. 13. IMAGE/TEXT 47
19. 14. INCOMPLETENESS 50
20. 15. INTERFACES 52
21. 16. IPOD EXPERIMENT 57
22. 17. IRONIC MODE 59
23. 18. LOOKING AT YOURSELF LOOKING 65
24. 19. THE LOST UNDERGROUND 70
25. 20. LOVE IN THE TIME OF FRAGMENTS 73
26. 21. MEDIA AS ITS OWN THEORY 76
27. 22. MOBILE VIEWING 84
28. 23. MOVING SPACE IN THE FRAME, AND A NOTE ON FILM THEORY 86
29. 24. NATURAL TIME 89
30. 25. NONLINEAR 95
31. 26. PARANORMAL ACTIVITY 2 97
32. 27. PAUSING 104
33. 28. PUNK 110
34. 29. REALISM 113
35. 30. REAL TIME 117
36. 31. THE REAL YOU 122
37. 32. THE REALITY INDUSTRIAL COMPLEX 125
38. 33. REMAINDERS 128
39. 34. SAMPLING 136
40. 35. SECONDARY BECOMES PRIMARY 139
41. 36. SELF-DECONSTRUCTING NARRATIVES 142
42. 37. SHAKY CAMERA 148
43. 38. SHOOT! 151
44. 39. SIMULTANEOUS CINEMA 153
45. 40. SMALL SCREENS 166
46. 41. TARGET VIDEO 169
47. 42. TIME, MEMORY 172
48. 43. TIME-SHIFTING 175
49. 44. TMESIS 180
50. 45. UNDIRECTED FILMS 182
51. 46. VIEWER PARTICIPATION 194
52. 47. VIRTUAL HUMANISM 196
53. 48. VIRTUAL HUMANISM 204
54. 49. VISIBLE LANGUAGE, SPRING 1977 213
55. 50. INTERPRETING FILM IMAGES THROUGH RANDOMIZED CONSTRAINT 215
56. FILMOGRAPHY 223
57. BIBLIOGRAPHY 227