Death 24x a Second

Stillness and the Moving Image

Nonfiction, Entertainment, Film, History & Criticism, Performing Arts
Cover of the book Death 24x a Second by Laura Mulvey, Reaktion Books
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Author: Laura Mulvey ISBN: 9781861895769
Publisher: Reaktion Books Publication: March 1, 2006
Imprint: Reaktion Books Language: English
Author: Laura Mulvey
ISBN: 9781861895769
Publisher: Reaktion Books
Publication: March 1, 2006
Imprint: Reaktion Books
Language: English

Death 24x a Second is a fascinating exploration of the role new media technologies play in our experience of film. Addressing some of the key questions of film theory, spectatorship, and narrative, Laura Mulvey here argues that such technologies, including home DVD players, have fundamentally altered our relationship to the movies. 

According to Mulvey, new media technologies give viewers the ability to control both image and story, so that movies meant to be seen collectively and followed in a linear fashion may be manipulated to contain unexpected and even unintended pleasures. The individual frame, the projected film’s best-kept secret, can now be revealed by anyone who hits pause. Easy access to repetition, slow motion, and the freeze-frame, Mulvey argues, may shift the spectator’s pleasure to a fetishistic rather than a voyeuristic investment in film. 

By exploring how technology can give new life to old cinema, Death 24x a Second offers an original reevaluation of film’s history and its historical usefulness.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Death 24x a Second is a fascinating exploration of the role new media technologies play in our experience of film. Addressing some of the key questions of film theory, spectatorship, and narrative, Laura Mulvey here argues that such technologies, including home DVD players, have fundamentally altered our relationship to the movies. 

According to Mulvey, new media technologies give viewers the ability to control both image and story, so that movies meant to be seen collectively and followed in a linear fashion may be manipulated to contain unexpected and even unintended pleasures. The individual frame, the projected film’s best-kept secret, can now be revealed by anyone who hits pause. Easy access to repetition, slow motion, and the freeze-frame, Mulvey argues, may shift the spectator’s pleasure to a fetishistic rather than a voyeuristic investment in film. 

By exploring how technology can give new life to old cinema, Death 24x a Second offers an original reevaluation of film’s history and its historical usefulness.

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