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"Trucage" and the Film

1977; University of Chicago Press; Volume: 3; Issue: 4 Linguagem: Inglês

10.1086/447911

1539-7858

Christian Metz, Françoise Meltzer,

Art, Technology, and Culture

Previous articleNext article No Access"Trucage" and the FilmChristian Metz and Françoise MeltzerChristian Metz and Françoise MeltzerPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 3, Number 4Summer, 1977 Article DOIhttps://doi.org/10.1086/447911 Views: 28Total views on this site Citations: 20Citations are reported from Crossref Copyright 1977 The University of ChicagoPDF download Crossref reports the following articles citing this article:Alfredo Suppia Beyond the Divide in the History of Film Theory: An Intermedial Approach in the Digital Age, Interfaces , no.4848 (Dec 2022).https://doi.org/10.4000/interfaces.6053Do-Hoon Lee Virtual Production and Intensified Visual Effects : Focusing on the Case Analysis of The Mandalorian Series, Journal of Digital Contents Society 23, no.77 (Jul 2022): 1191–1203.https://doi.org/10.9728/dcs.2022.23.7.1191Chang-Min Yu Violent Corporeality in Cinema, (Nov 2022): 37–53.https://doi.org/10.1007/978-3-031-05390-0_3David H. Fleming, Simon Harrison Shi-Nematic Games (Casino Capitalism), (Dec 2020): 185–217.https://doi.org/10.1007/978-3-030-49675-3_6Frank Kessler, Sabine Lenk "Rendre réel aux yeux du public": Stage Craft, Film Tricks, and the Féerie, (Dec 2018): 83–98.https://doi.org/10.1007/978-3-319-99576-2_3Garrett Stewart Digital Mayhem, Optical Decimation: The Technopoetics of Special Effects, Journal of Popular Film and Television 45, no.11 (Mar 2017): 4–15.https://doi.org/10.1080/01956051.2017.1270135Giovanna Maina, Federico Zecca Harder than fiction: the stylistic model of gonzo pornography, Porn Studies 3, no.44 (Dec 2016): 337–350.https://doi.org/10.1080/23268743.2016.1241161 S, (Feb 2015): 554–603.https://doi.org/10.1002/9781118789353.ch19Dan North, Bob Rehak, Michael S. Duffy Introduction, (Jan 2015): 1–13.https://doi.org/10.1007/978-1-84457-904-4_1 Introduction, (Jan 2014): 1–20.https://doi.org/10.1215/9780822377146-001 The New Verticality, (Jan 2014): 21–58.https://doi.org/10.1215/9780822377146-002 The Digital Multitude as Effects Emblem, (Jan 2014): 59–89.https://doi.org/10.1215/9780822377146-003 Vital Figures, (Jan 2014): 91–130.https://doi.org/10.1215/9780822377146-004 The Morph, (Jan 2014): 131–170.https://doi.org/10.1215/9780822377146-005 Conclusion, (Jan 2014): 171–184.https://doi.org/10.1215/9780822377146-006 Notes, (Jan 2014): 185–197.https://doi.org/10.1215/9780822377146-007 Bibliography, (Jan 2014): 199–205.https://doi.org/10.1215/9780822377146-008Varpu Rantala Techniques of the Invisible: Cinematic Images of being Addicted, Nordic Studies on Alcohol and Drugs 30, no.1-21-2 (Apr 2017): 105–122.https://doi.org/10.2478/nsad-2013-0008Diana Wade Cinema, the (Digital) Machine of the Imaginary: Revisiting Edgar Morin in the Quest to Create a Theory of Cinema in the Digital Age1, Recherches sémiotiques 31, no.1-2-31-2-3 (Nov 2014): 203–221.https://doi.org/10.7202/1027448arSean Cubitt Special Effects, (Jun 2008).https://doi.org/10.1002/9781405186407.wbiecs081