ISBN-10:
3030065693
ISBN-13:
9783030065690
Pub. Date:
01/18/2019
Publisher:
Springer International Publishing
Film in the Anthropocene: Philosophy, Ecology, and Cybernetics

Film in the Anthropocene: Philosophy, Ecology, and Cybernetics

by Daniel WhiteDaniel White

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Overview

This book provides an interdisciplinary analysis of film in the context of the Anthropocene: the new geological era in which human beings have collectively become a force of nature. Daniel White draws on perspectives in philosophy, ecology, and cybernetics (the science of communication and control in animals and machines) to explore human self-understanding through film in the new era. The classical figure of Janus, looking both to the future and the past, serves as a guide throughout the study. Both feature and documentary films are considered.

Product Details

ISBN-13: 9783030065690
Publisher: Springer International Publishing
Publication date: 01/18/2019
Edition description: Softcover reprint of the original 1st ed. 2018
Pages: 341
Product dimensions: 5.83(w) x 8.27(h) x 0.03(d)

About the Author

Daniel White is Professor Emeritus and founding faculty member of the Wilkes Honors College of Florida Atlantic University.

Table of Contents

Chapter 1: Introduction Stepping into the Play Frame: Cinema as Mammalian Communication


Chapter 2: Janus’s Celluloid and Digital Faces: The Existential Cyborg: Autopoiēsis in Christopher Nolan’s Memento


Chapter 3: Documentary Intertext: Robert Gardner’s Dead Birds 1964


Chapter 4: Cinema’s Historical Incarnations: Travelling the Möbius Strip of Biotime in Cloud Atlas


From Novel to Film


Chapter 5: Documentary Intertext: John Marshall’s The Hunters 1957


Chapter 6: Janus Speaks: Multicultural Polyvocality: Trinh Minh-ha’s The Fourth Dimension and The Digital Film Event


Chapter 7: Documentary Intertext: Gregory Bateson’s and Margaret Mead’s Trance and Dance in Bali 1952


Chapter 8: Janus’s Interspecies Faces: Biomorphic Transformations in the Ecology of Mind in James Cameron’s Avatar


Chapter 9: Documentary Intertext: J. Stephen Lansing’s and André Singer’s The Goddess and the Computer


Chapter 10: Conclusion: Toward a Transdisciplinary Critical Theory of Film

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