Death 24x a Second
Stillness and the Moving Image
Distributed for Reaktion Books
216 pages
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37 halftones
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5 2/5 x 8 1/2
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© 2006
- Contents
- Review Quotes
Table of Contents
Contents
Preface
1. Passing Time
2. Uncertainty
3. The Index and the Uncanny: Life and Death in the Photograph
4. The Death Drive: Narrative Movement Stilled
5. Alfred Hitchcock’s Psycho (1960)
6. Roberto Rossellini’s Journey to Italy / Viaggio in Italia (1953)
7. Abbas Kiarostami: Cinema of Uncertainty, Cinema of Delay
8. Delaying Cinema
9. The Possessive Spectator
10. The Pensive Spectator
References
Bibliography
Acknowledgements
Index
Review Quotes
Holly Willis | Film Comment
"Death 24x a Second whispers rather than shouts, gently leading readers through a series of reflections on stasis, life, and death. In reference to stillness and the photograph, Mulvey elegantly aligns the divergent discussions of Andre Bazin and Roland Barthes, offering a productive assessment of each writer’s attempt to grapple with the paradox of a time that was, in the past, a ’now.’ . . . Mulvey. . . continues to provoke new ways of seeing--or reseeing--the cinema we think we know."
Independent on Sunday
"Rethinks the fundamentals of film history through modern audiovisual technology."
Tony Wood | New Left Review
"Death 24X a Second takes up both the challenge to critical thinking represented by new technological developments, and the impulse towards reflection on film’s past that they have occasioned . . . a thoughtful book."
Dana Polan | Times Higher Education Supplement
"Elegiac . . . a wonderful close analysis. Despite the melancholy in cinema’s enounters with a fleeting past, the prospects opened up by filmic slowness are, for Mulvey, productive of optimism."—Times Higher Education Supplement
Hamish Ford | Onscreen
"Refreshingly argued. . . . Mulvey’s argument assers a new viewer-film relationship . . . This allows a newly-multi-dimensional understanding of ’the internal world of cinema.’ Taken as a whole, the book effectively, if idealistically, essays this newly empowered gaze as a revolution in our knowledge of the increasingly important image world she says is equivalent to 19th-century photography transforming ’the human eye’s perception of the world.’"
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