Mediated Associations: Cinematic Dimensions of Social Theory by Daniel O'Connor

By Daniel O'Connor

Rather than concentrating on the summary and individualizing personality of cinema, Mediated institutions elucidates the collective personality of cinematic gadgets. O'Connor argues that social thought needs to come to phrases with the hot mobilities and velocity of cinema, and many of the ways that the impact - as a digital second of collective adventure - is inserted into the stream of flow and constructions cinematic occasions. In contemplating the primacy of the impact to cinematic varieties of energy, he examines the way cinema controls our institutions, reconstituting our manners and conduct of sociality and sociability in sophisticated and intricate ways.

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Extra resources for Mediated Associations: Cinematic Dimensions of Social Theory

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The undirected potential motion that occupies this deterritorialized close-up space constitutes an affective ambience, irreducible to the practical demands of moving on to the ordinary business of everyday life. This any-space-whatever of the affective association is neither a sedentary place of habitual or instrumental responses nor simply a functional or utilitarian site to be moved through in order to reach some other transcendent goal. Rather, it is a space of biding time that is outside the more serious business of everyday affairs.

For Ingmar Bergman, however, the possibility of drawing near to the human face constitutes the "primary originality and distinctive quality" of cinema (cited in Deleuze, 1991: 99). As Rutland (forthcoming) suggests, the face, our relation to it, and the responses that it evokes constitute a primordial, pre-discursive potentiality (an otherness) that haunts all discursive formations. The face expresses qualities and emanates power. It is both capable of being moved - that is, of reflecting movements or actions that are external to it - and of motivating movement; through the pores of the eyes it exudes a sovereign gaze (in Foucault's sense) and through the mouth, orders and commands (sign regimes).

In short, the war of projectiles and missiles will give way to "a war of pictures and sounds" (1989: 2-3). As the war machine is directed to ends other than the capture or defence of territory and property, conflict will become virtual. Not only has there always been a watching machine alongside the war machine, so there has been an amusement machine in which the visual technologies of representation and surveillance - comprising both projective and receptive aspects - have served as a medium for diversions, material advertisement, and mass cultural forms of entertainment, such as the movies.

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