TAILIEUCHUNG - WAR AND CINEMA

The trend toward more engaging presentation led to a dramatic break with the past: the old “sloped floor” auditorium gave way to “stadium seating.” It’s as if we had turned the classic theater 90 degrees, placing the screen on the long side of the rectangle. In this new era, the back of the room is about 3 PH, which is roughly as close as the nearest seats used to be. Today the closest seats are less than 1 PH from the screen. In this environment, the flaws in 2K projection become obvious. Focus group research conducted for. | WAR AND CINEMA The Logistics of Perception PAUL VIRILIO Translated by Patrick Camiller Paul Virilio was born in 1932. He has been Director of the Ecole Speciale d Architecture and an editor of Esprit Cause Commune and Critiques. He is a founder member of CIRPES the Centre for Interdisciplinary Research in Peace Studies and Military Strategy. His books include Vitesse et politique Esthétique de la disparition L Espace ciitique L Hoiuon négalil and La Machine de vision. ISBN 0 86091 928 5 From the synchronized camera machine-guns on the biplanes of World War One to the laser satellites of Star Wars the technologies of cinema and warfare have developed a fatal interdependence. Hiroshima marked one conclusion of this process in the nuclear flash which penetrated the city s darkest recesses etching the images of its victims on the walls. Since the disappearance of direct vision in battle and the replacement of one-to-one combat by the remote and murderous son et lumière of trench warfare military strategy has been dominated by the struggle between visibility and invisibility surveillance and camouflage. Perception and destruction have now become coterminous. Paul Virilio one of the most radical French critics of contemporary culture explores these conjunctions from a range of perspectives. He gives a detailed technical history of weaponry photography and cinematography illuminating it with accounts of films and military campaigns. He examines in parallel the ideas of strategists and directors along with the views on war and cinema of writers from Apollinaire to William Burroughs. And he finds further fruitful sources of reflection in the history of cinema architecture or the wartime popularity of striptease and the pin-up. The result IS a rich and suggestive analysis of military ways of seeing and a disturbing account of how these have now permeated our culture Warsaw Beirut Belfast . the streets themselves have now become a permanent film-set for army cameras or the .

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