Tiago De Luca
Datos Biográficos
| ID | 4014148 |
|---|---|
| NOMBRE | Tiago De Luca |
| NOMBRES | Tiago |
| APELLIDO | De Luca |
| FIRMA | DE LUCA T |
| AFILIACIONES | University of Warwick |
| VERIFICADO | No |
| TOTAL DE OBRAS | 11 |
| TOTAL DE CITAS | 1 |
| TOTAL COMO AUTOR | 10 |
| TOTAL COMO EDITOR | 1 |
| PRIMER AÑO DE PUBLICACIÓN | 2015 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2023 |
| ÍNDICE H | 1 |
Elemental World Cinema
Recent ecocritical strands of thought have proposed a conceptualisation of the environment on the basis of its elemental constitution rather than an amorphous 'nature' supposedly divorced from humans In this burgeoning 'elemental ecocriticism' , the classical elements -earth, air, fire and water -reappear as objects of sustained philosophical enquiry and as concrete entities with which to recalibrate our interaction with the environment in the so…
Nebulous Cinema
As billowing masses averse to stillness and defined by perpetual variability, clouds, fog and mist share common ontological properties. This article will group them together under the rubric of the “nebulous,” and probe its conceptual and aesthetic relationship with film. Fog, smoke and mist are pervasive through the entire history of cinema and crop up in an array of genres and modes. What would film history look like if traced from the perspect…
Elemental World Cinema
Towards an Intermedial History of Brazilian Cinema
This book resorts to a new, intermedial method in order to reconstruct the history of Brazilian cinema. It eschews teleological schemes derived from evolutionary chronologies and classical-modern or centre-periphery models, which inevitably lead to the privileging of certain film forms over others on the restrictive basis of medium-specific qualities. Instead, it proposes that different phases of a national cinema can be framed as comparable and …
Putting the World Back into World Cinema
The world envisioned by the idea of world cinema is often tied to a conception of the planet in terms of the global circulation of films and networks of production, consumption and distribution. This article argues for the need to confront the world as a representational and aesthetic category in and of itself
Janine Marchessault
In an article dating from 2007, W. J. T. Mitchell noted that ‘the general tendency has been to talk about the global distribution of images, their circulation in forms of mass media such as cinema, television, advertising, and the internet [...] We need to begin, then, by asking ourselves: How do we imagine, depict or know the global?’1 In a way, Janine Marchessault’s gentle and insightful Ecstatic Worlds: Media, Utopia, Ecologies arises from thi…
On Length
The question of running time in the cinema has often been relegated to the margins throughout much of film history. This essay attempts to rectify this by opening up some preliminary avenues of thought towards a more systematic historicisation of the long film across different forms and practices. In so doing, the essay hopes to show some possible directions in which the study of long cinema and the question of cinematic length more broadly can b…
Figuring a global humanity
Films with multiple narrative strands have become increasingly conspicuous in world cinema over the last two decades. The multinarrative film now accordingly forms a well-trodden theoretical terrain, generating its own subdivisions and nomenclature, with terms such as ‘network’, ‘hyperlink’, ‘mosaic’, ‘multi-protagonist’ and ‘complex’ applied to what many critics and scholars recognize as a crosscultural genre in its own right.1 Yet as these diff…
David Martin-Jones, Deleuze and World Cinemas .David Deamer, Deleuze, Japanese Cinema and the Atom Bomb
Thirty years after the original publication of his Cinema books, Deleuze seems to show no sign of loosening his grip on film studies. 1 Two recent additions to the ever-growing body of Deleuzian scholarship, David Martin-Jones’s Deleuze and World Cinemas and David Deamer’s Deleuze, Japanese Cinema and the Atom Bomb , are evidence of his continued hold on the field. Significantly, however, both books are not so much (or not only) compendia of Dele…
Natural Views
Slow Cinema
Situates, theorises and maps out cinematic slowness within contemporary global film production and across world cinema history In the context of a frantic world that celebrates instantaneity and speed, a number of cinemas steeped in contemplation, silence and duration have garnered significant critical attention in recent years, thus resonating with a larger sociocultural movement whose aim is to rescue extended temporal structures from the accel…
Figuring a global humanity
Films with multiple narrative strands have become increasingly conspicuous in world cinema over the last two decades. The multinarrative film now accordingly forms a well-trodden theoretical terrain, generating its own subdivisions and nomenclature, with terms such as ‘network’, ‘hyperlink’, ‘mosaic’, ‘multi-protagonist’ and ‘complex’ applied to what many critics and scholars recognize as a crosscultural genre in its own right.1 Yet as these diff…
Natural Views
Slow Cinema
Situates, theorises and maps out cinematic slowness within contemporary global film production and across world cinema history In the context of a frantic world that celebrates instantaneity and speed, a number of cinemas steeped in contemplation, silence and duration have garnered significant critical attention in recent years, thus resonating with a larger sociocultural movement whose aim is to rescue extended temporal structures from the accel…
David Martin-Jones, Deleuze and World Cinemas .David Deamer, Deleuze, Japanese Cinema and the Atom Bomb
Thirty years after the original publication of his Cinema books, Deleuze seems to show no sign of loosening his grip on film studies. 1 Two recent additions to the ever-growing body of Deleuzian scholarship, David Martin-Jones’s Deleuze and World Cinemas and David Deamer’s Deleuze, Japanese Cinema and the Atom Bomb , are evidence of his continued hold on the field. Significantly, however, both books are not so much (or not only) compendia of Dele…
On Length
The question of running time in the cinema has often been relegated to the margins throughout much of film history. This essay attempts to rectify this by opening up some preliminary avenues of thought towards a more systematic historicisation of the long film across different forms and practices. In so doing, the essay hopes to show some possible directions in which the study of long cinema and the question of cinematic length more broadly can b…
Figuring a global humanity
Films with multiple narrative strands have become increasingly conspicuous in world cinema over the last two decades. The multinarrative film now accordingly forms a well-trodden theoretical terrain, generating its own subdivisions and nomenclature, with terms such as ‘network’, ‘hyperlink’, ‘mosaic’, ‘multi-protagonist’ and ‘complex’ applied to what many critics and scholars recognize as a crosscultural genre in its own right.1 Yet as these diff…
Janine Marchessault
In an article dating from 2007, W. J. T. Mitchell noted that ‘the general tendency has been to talk about the global distribution of images, their circulation in forms of mass media such as cinema, television, advertising, and the internet [...] We need to begin, then, by asking ourselves: How do we imagine, depict or know the global?’1 In a way, Janine Marchessault’s gentle and insightful Ecstatic Worlds: Media, Utopia, Ecologies arises from thi…
Towards an Intermedial History of Brazilian Cinema
This book resorts to a new, intermedial method in order to reconstruct the history of Brazilian cinema. It eschews teleological schemes derived from evolutionary chronologies and classical-modern or centre-periphery models, which inevitably lead to the privileging of certain film forms over others on the restrictive basis of medium-specific qualities. Instead, it proposes that different phases of a national cinema can be framed as comparable and …
Putting the World Back into World Cinema
The world envisioned by the idea of world cinema is often tied to a conception of the planet in terms of the global circulation of films and networks of production, consumption and distribution. This article argues for the need to confront the world as a representational and aesthetic category in and of itself
Elemental World Cinema
Recent ecocritical strands of thought have proposed a conceptualisation of the environment on the basis of its elemental constitution rather than an amorphous 'nature' supposedly divorced from humans In this burgeoning 'elemental ecocriticism' , the classical elements -earth, air, fire and water -reappear as objects of sustained philosophical enquiry and as concrete entities with which to recalibrate our interaction with the environment in the so…
Nebulous Cinema
As billowing masses averse to stillness and defined by perpetual variability, clouds, fog and mist share common ontological properties. This article will group them together under the rubric of the “nebulous,” and probe its conceptual and aesthetic relationship with film. Fog, smoke and mist are pervasive through the entire history of cinema and crop up in an array of genres and modes. What would film history look like if traced from the perspect…
Elemental World Cinema
Art (10 obras) · Aesthetics (8 obras) · Cinema and Media Studies (8 obras) · Movie theater (8 obras) · History (7 obras) · Philosophy (7 obras) · Art history (5 obras) · Sociology (5 obras) · Law (4 obras) · Literature (4 obras)