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By Patricia Pisters
Arguing that today's audience go through a character's mind rather than searching through his or her eyes or psychological panorama, this e-book techniques twenty-first-century globalized cinema during the notion of the "neuro-image." Pisters explains why this idea has emerged now, and she or he elaborates its threefold nature via study from 3 domains—Deleuzian (schizoanalytic) philosophy, electronic networked reveal tradition, and neuroscientific learn. those domain names go back within the book's tripartite constitution. half One, at the mind as "neuroscreen," indicates wealthy connections among movie thought, psychological sickness, and cognitive neuroscience. half explores neuro-images from a philosophical viewpoint, paying shut realization to their ontological, epistemological, and aesthetic dimensions. Political and moral facets of the neuro-image are mentioned partly 3. subject matters lined alongside the best way contain the omnipresence of surveillance, the blurring of the fake and the true and the affective powers of the neo-baroque, and using neuro-images in politics, ancient reminiscence, and struggle.
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Extra info for The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture (Cultural Memory in the Present)
Sample text
Grappling with the similar insights of Eyal Weisman, I will address how the strategies of The Battle of Algiers and of Deleuzian rhizomatic philosophy become slippery tools in the hands of majoritarian forces, such as (most prominently) the Israeli army. In this chapter the schizophrenic production and antiproduction of cultural memory and political strategy is related to the ever-growing and transnationally spreading viral archive of digital culture, revealing a growing tension between “hyperhistoricity” on the one hand and “posthistoricity” on the other that perhaps, I will argue, could better be described as “prehistoricity” in contemporary media culture.
It is very early in the morning. The winter landscape is covered in mist. The music has a slightly threatening undertone and Clayton’s expression is somber, and then he stops the car. The music stops Introduction too. He looks through the car window and the branching structures of leafless trees are reflected in the glass screen. He opens the window to see more clearly and then gets out. The camera is behind him, and for a few seconds his body blocks the view of what he is actually looking at.
24 At the beginning of her talk Bolte Taylor explains that her professional interest in neuroscience developed because she has a schizophrenic brother and wanted to understand why he was not able to connect to reality in the way neurotypical persons can. Her stroke made it very clear that the two brain halves process information in very different ways, which seems to give them different “personalities”: Our right hemisphere is about right here, right now. It thinks in pictures and it learns kinesthetically through the movement of our bodies.