Catalogue


Ostrannenie : on "strangeness" and the moving image : the history, reception, and relevance of a concept /
edited by Annie van den Oever.
imprint
Amsterdam : Amsterdam University Press, c2010.
description
278 p. : ill. ; 24 cm.
ISBN
9089640797, 9789089640796
format(s)
Book
Holdings
Subjects
More Details
series title
series title
imprint
Amsterdam : Amsterdam University Press, c2010.
isbn
9089640797
9789089640796
abstract
Summary: Defamiliarisation or ostrannenie, the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar, ihas become one of the central concept of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the Soviet literary critic Victor Shklovskii in 1917, ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the French philosopher Derrida's concept of differance, bordering on 'differing' and 'deferring'. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry.
catalogue key
7381512
 
Includes bibliographical references (p. 241-254) and indexes.
A Look Inside
Reviews
Review Quotes
This remarkable collection of essays and interviews explores the centrality of the concept of 'ostranenie' ('making strange') to cinema, the avant-garde, media and modernity from a range of perspectives: historical, theoretical, cognitive and psychoanalytic. Modernist 'ostranenie' was about the transformation of representation and perception at a time when film was new: the outstanding essays collected here open up this historical moment and reveal the continuing significance of the concept, for culture and for human cognition. Laura Marcus, Goldsmith's Professor of ENglish Literature, New College, Oxford University
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Summaries
Bowker Data Service Summary
This collection explores the changing theoretical trajectory of ostrannenie (or defamiliarization) and includes contributions from some of the world's leading film scholars, such as Laura Mulvey, Ian Christie and Yuri Tsivian.
Library of Congress Summary
Summary: Defamiliarisation or ostrannenie, the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar, ihas become one of the central concept of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the Soviet literary critic Victor Shklovskii in 1917, ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the French philosopher Derrida's concept of differance, bordering on 'differing' and 'deferring'. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry.
Main Description
Coined by the Russian formalist Victor Shklovsky in 1917, ostrannenie , or "making it strange", has become one of the central concepts of modern artistic practice, ranging over movements that include Dada, postmodernism, epic theater, and science fiction, as well as our response to the arts. Ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the Brechtian concept of Verfremdung , the Freudian concept of the uncanny, and Derrida's concept of differance . Striking, provocative, and incisive, the essays of the distinguished film scholars in this volume reveal the range and depth of a concept that for nearly a century has been changing the trajectory of theoretical inquiry.
Main Description
Coined by the Russian formalist Victor Shklovsky in 1917,ostrannenie, or "making it strange", has become one of the central concepts of modern artistic practice, ranging over movements that include Dada, postmodernism, epic theater, and science fiction, as well as our response to the arts. Ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the Brechtian concept ofVerfremdung, the Freudian concept of the uncanny, and Derrida's concept ofdifferance. Striking, provocative, and incisive, the essays of the distinguished film scholars in this volume reveal the range and depth of a concept that for nearly a century has been changing the trajectory of theoretical inquiry.
Main Description
Ostranenie ("making strange") has become one of the central concepts of modern artistic practice. Coined by Viktor Shklovsky, ostranenie has come to resonate deeply in Film Studies, where it entered into dialogue with the Brechtian technique of "Verfremdung," the Freudian concept of the uncanny and Derrida's "différance." Reread within the context of early cinema's estranging impact on audiences, Shklovsky's "Art as Technique" proves to be highly relevant for Film, Media, and Art Studies today. Striking, provocative and incisive, the essays by distinguished international film scholars in this volume explore the range and diversity of a concept that continues to provoke theoretical inquiry. The Key Debates is a new film series from Amsterdam University Press. The series' ambition is to uncover the processes of appropriation and diffusion of key concepts that have shaped Film Studies. The series editors are: Ian Christie, Dominique Chateau, and Annie van den Oever. Book jacket.
Main Description
Ostrannenie ('making it strange') has become one of the central concepts of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the 'Russian Formalist' Viktor Shklovsky in 1917, ostrannenie has come to resonate deeply in Film Studies, where it entered into dialogue with the Brechtian concept of Verfremdung, the Freudian concept of the uncanny and Derrida's concept of différance. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry. European Film Studies - 'The Key Debates is a new film series from Amsterdam University Press edited by Annie van den oever (the founding editor), Ian Christie and Dominique Chateau. The editors' ambition is to uncover and track the process of appropriation of critical terms in film theory in order to give the European film heritage the attention it deserves. With contributions from Ian Christie, Yuri Tsivian, Dominique Chateau, Frank Kessler, Laurent Jullier, Miklós Kiss, Annie van den oever, Emile Poppe, László Tarnay, Barend van Heusden, András Bálint Kovács, and Laura Mulvey, this important study is a wonderful piece of imaginative yet rigorous scholarship.
Table of Contents
Editorialp. 7
Acknowledgmentsp. 9
Introduction: Ostran(n)enie as an "Attractive" Conceptp. 11
Theory Formation: Ostranenie, the Avant-Garde and the Cinema of Attractions
The Gesture of Revolution or Misquoting as Devicep. 21
Ostranenie, "The Montage of Attractions" and Early Cinema's "Properly Irreducible Alien Quality"p. 33
Mutations and Appropriations Alienation Theories and Terminologies
Ostranenie, Innovation, and Media Historyp. 61
Knight's Moves: Brecht and Russian Formalism in Britain in the 1970sp. 81
Ostranenie in French Film Studies: Translation Problems and Conflicting Interestsp. 99
Christian Metz and the Russian Formalists: A "Rendez-Vous Manqué"?p. 111
Cognitive and Evolutionary-Cognitive Approaches to Ostranenie Perception, Cognitive Gaps and Cognitive Schemes
Should I See What I Believe?: Audiovisual Ostranenie and Evolutionary-Cognitive Film Theoryp. 119
On Perception, Ostranenie, and Specificityp. 141
Estrangement and the Representation of Life in Artp. 157
The Perception of Reality as Deformed Realismp. 165
Discussions: On Ostranenie, Différance, and the Uncanny
Conversation with András Bálint Kovácsp. 175
Conversation with Laura Mulveyp. 185
Notesp. 205
General Bibliographyp. 241
Notes on Contributorsp. 255
Index of Namesp. 259
Index of Film Titlesp. 267
Index of Subjectsp. 269
Table of Contents provided by Ingram. All Rights Reserved.

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