Of dogs and hot dogs: distractions in early cinema.
InElectric Animal, Akira Mizuta Lippit argues that when animals, understood in traditional Western thought as lacking language, become images on film, they are turned into languages or semiotic facilities. Inspired by Lippit’s claim, this study poses four interrelated questions. First, is Lippit ref...
| Publicado en: | Early Popular Visual Culture Vol. 15; no. 1; pp. 44 - 59 |
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| Formato: | Essay |
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Taylor & Francis Ltd
Feb2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=121350234&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 121350234 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17460654 15UY jtl: Early Popular Visual Culture issn: 17460654 maglogo: N pubinfo: dt: Feb2017 vid: 15 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 121350234 10.1080/17460654.2016.1232203 ppf: 44 ppct: 15 formats: fmt: – @attributes: type: T – @attributes: type: P size: 894KB tig: atl: Of dogs and hot dogs: distractions in early cinema. aug: au: Tang, Pao-Chen affil: Cinema and Media Studies, East Asian Languages and Civilizations, University of Chicago, Chicago, IL, USA su: Dogs in motion pictures Electric Animal (Book) Lippit, Akira Mizuta Gunning, Tom Making Sausages (Film) sug: subj: Dogs in motion pictures Electric Animal (Book) Lippit, Akira Mizuta Gunning, Tom Making Sausages (Film) keyword: animal studies dogs in film The cinema of attractions the sausage-making film ab: InElectric Animal, Akira Mizuta Lippit argues that when animals, understood in traditional Western thought as lacking language, become images on film, they are turned into languages or semiotic facilities. Inspired by Lippit’s claim, this study poses four interrelated questions. First, is Lippit referring to the animal in general or to specific kinds of animals? Second, how does cinema enact the process of signification? Third, are animals as filmic elements necessarily turned into signs? Finally, what does it mean for animals to be transformed into signs? I address these questions by tracing the appearances and functions of dogs in early cinema in relation to Tom Gunning’s paradigmatic account of early cinema as a medium of attractions. Certain dogs in film, I argue, function as distractions that disrupt viewers’ absorption into either attractions or narratives and push them into reconsidering the status of the image in relation to their own viewing positions. pubtype: Academic Journal doctype: Essay src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Early Popular Visual Culture is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Early Popular Visual Culture holder: Taylor & Francis Ltd dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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