{"product_id":"rewatching-on-the-point-of-the-cinematic-index-paperback","title":"Rewatching on the Point of the Cinematic Index - Paperback","description":"\u003cdiv\u003e\u003cp style=\"text-align: right;\"\u003e\u003ca href=\"https:\/\/reportcopyrightinfringement.com\/\" target=\"_blank\" rel=\"nofollow\"\u003e\u003cb\u003eReport copyright infringement\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\u003cp\u003eby \u003cb\u003eAllen H. Redmon\u003c\/b\u003e (Author)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eRewatching on the Point of the Cinematic Index\u003c\/i\u003e 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. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e 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. \u003cp\u003e\u003c\/p\u003e Examining such films as John Lee Hancock's \u003ci\u003eSaving Mr. Banks\u003c\/i\u003e (2013); Richard Linklater's oeuvre; Paul Greengrass's \u003ci\u003eUnited 93\u003c\/i\u003e (2006); Oliver Stone's \u003ci\u003eWorld Trade Center\u003c\/i\u003e (2006); Stephen Daldry's \u003ci\u003eExtremely Loud and Incredibly Close\u003c\/i\u003e (2011); and Christopher Nolan's \u003ci\u003eDunkirk\u003c\/i\u003e (2017), \u003ci\u003eInception\u003c\/i\u003e (2010), and \u003ci\u003eMemento\u003c\/i\u003e (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation.\u003ch3\u003eAuthor Biography\u003c\/h3\u003e\u003cp\u003e\u003cb\u003eAllen H. Redmon\u003c\/b\u003e is professor of English and film studies at Texas A\u0026amp;M University-Central Texas. He is author of \u003ci\u003eConstructing the Coens: From \"Blood Simple\" to \"Inside Llewyn Davis, \u003c\/i\u003e\" editor of \u003ci\u003eNext Generation Adaptation: Spectatorship and Process\u003c\/i\u003e, and coeditor of \u003ci\u003eClint Eastwood's Cinema of Trauma: Essays on PTSD in the Director's Films\u003c\/i\u003e. Redmon serves as president of the Literature\/Film Association.\u003c\/p\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eNumber of Pages:\u003c\/strong\u003e 216\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 0.49 x 9 x 6 IN\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003ePublication Date:\u003c\/strong\u003e August 24, 2022\u003c\/div\u003e\n            ","brand":"BooksCloud","offers":[{"title":"Default Title","offer_id":52703447089459,"sku":"9781496841827","price":70.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0300\/5595\/6612\/files\/UW53RzBQRGdjUWxJVU1wamJyWXlUUT09.webp?v=1763323269","url":"https:\/\/www.vysn.com\/products\/rewatching-on-the-point-of-the-cinematic-index-paperback","provider":"VYSN","version":"1.0","type":"link"}