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Media type:
E-Book;
Thesis
Title:
Postnaturalism
:
Frankenstein, film, and the anthropotechnical interface
Contains:
cover Postnaturalism; Contents; Acknowledgements; Foreword: Logics of Transition; 1. Introduction: Monster Movies and Metaphysics; Monster Movies: Adaptation, Myth, Genre, and Beyond; Metaphysics: Film and the Anthropotechnical Interface; PART ONE; 2. Frankenstein's Filmic Progenies: A Techno-Phenomenological Approach; Film as Frankensteinian Technology?; Techno-Phenomenology and the Structure of Cinematic Revolutions; 3. Monsters in Transit: Edison's Frankenstein; An Interstitial Space; Seeing Double: Material and Discursive Monsters in the Transition and Beyond; PART TWO
4. To the Heart of (the) Matter: Frankenstein, Embodiment, MaterialityFrankenstein as a Tale of Two Monsters: Feminist Interventions and Beyond; Parabolic Mutations: From Textual Allegory to Machinic Parable; 5. Of Steam Engines, Revolutions, and the (Un)natural History of Matter: A Techno-Scientific Interlude; Scientific Revolution: A Matter of Discourse or the Discourse of Matter?; Postnaturalism and the Thermodynamic Revolution; Coda: Fiction Meets Friction; 6. Re-Focusing Cinematic Double Vision: Seriality, Mediality, and Mediation in Postnatural Perspective
Prelude: Maurice and Henri at the Cosmic Picture ShowMedia in the Middle; Segue: Seriality and the Mediation of Medial Change; PART THREE; 7. Universal Monsters and Monstrous Particulars; Incorporations: Melodrama and Monstrosity; About-Face: Anthro-, Techno-, Xeno-Phenomenology; 8. Lines of Flight: Transitional Thoughts by Way of Conclusion; The Continuing Adventures of the Uncanny Body; Works Cited
University thesis:
Teilw. zugl.: Hannover, Univ., Diss., 2010
Footnote:
In English
Description:
»Postnaturalism« offers an original account of human-technological co-evolution and argues that film and media theory, in particular, needs to be re-evaluated from the perspective of our material interfaces with a constantly changing environment. Extrapolating from Frankenstein films and the resonances they establish between a hybrid monster and the spectator hooked into the machinery of the cinema, Shane Denson engages debates in science studies and philosophy of technology to rethink histories of cinema, media, technology, and ultimately of the affective channels of our own embodiment. With a foreword by media theorist Mark B. N. Hansen.