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"In contemporary culture, existing audiovisual recordings are constantly reused and repurposed for various ends, raising questions regarding the ethics of such appropriations, particularly when the recording depicts actual people and events. Every reuse of a preexisting recording is, on some level, a misuse in that it was not intended or at least anticipated by the original maker, but not all misuses are necessarily unethical. In fact, there are many instances of productive misuse that seem justified. At the same time, there are other instances in which the misuse shades into abuse. Documentary scholars have long engaged with the question of the ethical responsibility of documentary makers in relation to their subjects. But what happens when this responsibility is set at a remove, when the recording already exists for the taking and repurposing? Reuse, Misuse and Abuse surveys a range of contemporary films and videos that appropriate preexisting footage and attempts to theorize their ethical implications"--

Stock footage. --- Documentary films --- Video recordings --- Actualities (Motion pictures). --- Gaze in motion pictures. --- Moral and ethical aspects. --- Actualities (Motion pictures)

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Cinesexuality explores the queerness of cinema spectatorship - represented as a unique encounter of desire, pleasure and perversion beyond binary dialectics of subject/object and image/meaning. Through a variety of cinematic examples, the book encourages a radical shift to spectatorship as itself inherently queer beyond what is watched and who watches.

Homosexuality and motion pictures. --- Sex in motion pictures. --- Gaze in motion pictures. --- Sex in moving-pictures --- Motion pictures --- Erotic films --- Pornographic films --- Motion pictures and homosexuality

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This book is a study of one of the most insidious and pervasive phenomena in the study and reception of cinema: the "returned gaze" from the screen in which the audience is actually surveilled by the film being projected on the screen. Rather than the usual process of watching a film, in those films which return the gaze of the viewer, the film looks at us, confronting our voyeur's embrace of the spectacle it presents. The book cites examples as diverse as Andy Warhol's Vinyl, Laurel and Hardy two-reel comedies, the films of Jean-Marie Straub, Jean-Luc Godard, Roberto Rossellini, and Wesley E. Barry's Creation of The Humanoids. It also discusses the history of the returned gaze in video, pornography, surveillance systems, and the related plastic arts.

Motion picture audiences. --- Motion pictures --- Gaze --- Gaze in motion pictures. --- Motion picture audiences --- Gaze in motion pictures --- Film --- Music, Dance, Drama & Film --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Body language --- Social perception --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Visual perception --- Influence. --- Social aspects. --- Psychological aspects. --- Influence --- Social aspects --- Psychological aspects --- Audiences --- History and criticism

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Shame and Desire defines the contemporary cinematic experience in terms that go beyond the visual. Adopting an intersubjective perspective on film studies, the author maintains that the dialectical poles of subject and object, seeing and being seen no longer seem to be valid. We are now surrounded by images that look back at us provocatively, seductively, indifferently ; and not only in movies, but also in art, television, the city, in chance encounters, and in our private relationships.Taking her cue from Jean-Paul Sartre, the author shows how emotions exemplify the way in which we are ‘forced' to see ourselves through the eyes of others, unable to escape an identity that is imposed upon us from the outside but nevertheless resides ‘in the flesh' – in the affective operations of the body and the senses. To illustrate her account of the intersubjective dynamics and affective bonds of cinema, the author explores the contemporary aesthetic investment in the emotional in the work of filmmakers such as Lars von Trier, Michael Haneke and Eija-Liisa Ahtila.This book proposes an insight into the ways in which we are engaged with visual displays and the look with which they respond to our looking.

Abjection dans le cinéma --- Abjection in motion pictures --- Blik in de film --- Gaze in motion pictures --- Regard au cinéma --- Verworpenheid in de film --- Motion pictures --- Gaze in motion pictures. --- Abjection in motion pictures. --- Cinéma --- Abjection au cinéma --- Psychological aspects. --- Aspect psychologique --- film --- filmtheorie --- identiteit --- von Trier Lars --- Haneke Michael --- Ahtila Eija-Liisa --- intersubjectiviteit --- 791.41 --- Cinéma --- Regard au cinéma --- Abjection au cinéma --- Psychological aspects --- Motion pictures - Psychological aspects

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#SBIB:39A8 --- Antropologie: linguïstiek, audiovisuele cultuur, antropologie van media en representatie --- visuele antropologie --- documentaires --- reportagefilms --- found footage --- film en etnografie --- Gaze in motion pictures. --- 778.5.01 --- Film ; documentaires : theorie --- Kunst nieuwe technieken ; theorie ; filosofie ; esthetica --- Documentary films --- Experimental films --- Gaze in motion pictures --- Gaze --- Motion pictures in ethnology --- 791.41 --- 791.43 --- antropologie --- cultuurfilosofie --- etnografie --- etnologie --- experimentele film --- film --- kunsttheorie --- perceptie --- psychologie --- video --- videokunst --- waarneming --- 778.5.07 --- Moving-pictures in ethnology --- Visual anthropology --- Body language --- Social perception --- Motion pictures --- History and criticism --- Psychological aspects --- Videokunstenaars, laserkunstenaars, computerkunstenaars, klank en beeld kunstenaars --- Motion pictures in ethnology. --- History and criticism. --- Psychological aspects. --- Music, Dance, Drama & Film --- Film --- Cinéma expérimental --- Films documentaires --- Films ethnographiques --- Regard --- Anthropologie visuelle --- Histoire et critique --- Aspect psychologique