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03777aam a2200445 i 4500 001 17A275A0803411ED944134D030ECA4DB 003 SILO 005 20221220010056 008 220307s2022 msu b 001 0 eng 010 $a 2022010500 020 $a 1496841824 020 $a 9781496841827 020 $a 1496841816 020 $a 9781496841810 035 $a (OCoLC)1327605607 040 $a MsSM/DLC $b eng $e rda $c DLC $d BDX $d OCLCF $d YDX $d NUI $d SILO 042 $a pcc 050 00 $a PN1995 $b .R394 2022 082 00 $a 791.4301 $2 23/eng/20220607 100 1 $a Redmon, Allen H., $d 1972- $e author. 245 10 $a Rewatching on the point of the cinematic index / $c Allen H. Redmon. 264 1 $a Jackson : $b University Press of Mississippi, $c [2022] 300 $a ix, 203 pages ; $c 24 cm 520 $a "Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema's indexicality is so narrowly defined, the entire nature of film is called into question the moment film no longer relies on a lens-based camera. The presence of digital technologies seemingly strips cinema of its indexical standing. This volume pushes for a broader understanding of the cinematic index by returning to the early discussions of the index in film studies and the more recent discussions of the index in other digital arts. Bolstered by the insights these discussions can offer, the volume looks to replace what might be best deemed a diminished concept of the cinematic index with a series of more complex cinematic indices, the impoverished index, the indefinite index, the intertextual index, and the imaginative index. The central argument of this book is that these more complex indices encourage spectators to enter a process of ongoing adaptation of the reality they see on the screen, and that it is on the point of these indices that the most significant instances of rewatching movies occur. Examining such films as John Lee Hancock's Saving Mr. Banks (2013); Richard Linklater's oeuvre; Paul Greengrass's United 93 (2006); Oliver Stone's World Trade Center (2006); Stephen Daldry's Extremely Loud and Incredibly Close (2011); and Christopher Nolan's Dunkirk (2017), Inception (2010), and Memento (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation"-- $c Provided by publisher. 504 $a Includes bibliographical references and index. 505 00 $t Index. $t Introduction -- $t Chapter 1: The index -- $t Chapter 2: (Cinematic) Reality -- $t Chapter 3: Trauma -- $t Chapter 4: Adaptation -- $t Works cited -- $t Index. 650 0 $a Motion pictures $x Aesthetics. 650 0 $a Motion pictures $x Philosophy. 650 0 $a Film adaptations $x Philosophy. 650 0 $a Digital media $x Influence. 650 0 $a Reality in motion pictures. 650 0 $a Reality $x Philosophy. 650 7 $a Film adaptations $x Philosophy. $2 fast $0 (OCoLC)fst00924252 650 7 $a Motion pictures $x Aesthetics. $2 fast $0 (OCoLC)fst01027288 650 7 $a Motion pictures $x Philosophy. $2 fast $0 (OCoLC)fst01027348 650 7 $a Reality in motion pictures. $2 fast $0 (OCoLC)fst02024685 776 08 $i Online version: $a Redmon, Allen H. $t Rewatching on the point of the cinematic index $d Jackson : University Press of Mississippi, 2022 $z 9781496841834 $w (DLC) 2022010501 941 $a 1 952 $l OVUX522 $d 20231117022620.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=17A275A0803411ED944134D030ECA4DBInitiate Another SILO Locator Search