write essay on the topic "IMPORTANCE OF CINEMAS IN LIFE"
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it has great importance
1.comfort in life
2.enjoyment in life
UNPUBLISHED PAPER AT THE CONFERENCE “A HUNDRED YEARS OF FILM THEORY: MÜNSTERBERG AND BEYOND” AT THE UNIVERSITY OF LEIPZIG, 29TH JUNE 2016 – 2ND JULY 2016 Tobias Ebbrecht-Hartmann (Jerusalem) Cinema – Memory – Witnessing: Implications of Hugo Münsterberg’s Writings for Media Memory Abstract: In recent years concepts of memory and witnessing gained increasing importance for media and film theory. Films and visual media can provoke and trigger memories, they can absorb structures and techniques of memory processes and they can be based on and play with (previous) media memory. ‘Media memory’ and ‘media witnessing’ already played a crucial role in Hugo Münsterberg’s thinking about cinema. In his psychology of the photoplay (1916/1970) he explicitly includes memory and imagination as important aspects for understanding films. The proposed paper intends to review Münsterberg’s writing about cinema from the perspective of memory and witnessing In recent years numerous disciplines in the humanities, social science and cultural studies experienced an increasing interest in concepts of memory. The (re-) appearance of past experiences in the present, the crucial importance of commemoration for social formation as well as the intergenerational and transgressive character of individual, social, communicative and cultural memory provoked new research and resulted in numerous studies. This increased concentration on memory studies also induced a renewed interest in earlier thoughts on that topic, and thus lead to the rediscovery of significant writings from 20st century thinkers such as Maurice Halbwachs, Henri Bergson or Walter Benjamin on that topic. While the first is considered having pioneered in developing the concept of “collective memory”, on which subsequent memory concepts – especially the distinction between communicative and cultural memory – by scholars such as Jan and Aleida Assmann or Harald Welzer are based, Bergson and Benjamin contributed to an increasing interest in conceptualizing memory in the fields of art, culture and communication. Correspondingly the interplay between film and processes of memory also gained increasing interest in the fields of media and film theory during the late 1990s and the first decade of the 21st century. Fueled by the ‘memory boom’ in different sections of audiovisual media production in course of global commemorations of the Holocaust and World Wart Two after 1995, as well as intensified through the shocking terrorist attacks from September 11, 2001, which immediately provoked debates about the relationship between violence, memory and experiences of ruptured time and trauma, scholars began to re-explore the relationship between memory and the cinema. One of the seminal studies of this decade was “Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture” by Alison Landsberg from 2004 that intended to combine the study of cinematic memory with phenomenological approaches that focus on bodily experience.
Cinema – Memory – Witnessing:... (PDF Download Available). Available from: https://www.researchgate.net/publication/306077439_Cinema_-_Memory_-_Witnessing_Implications_of_Hugo... [accessed Jun 10 2018].
1.comfort in life
2.enjoyment in life
UNPUBLISHED PAPER AT THE CONFERENCE “A HUNDRED YEARS OF FILM THEORY: MÜNSTERBERG AND BEYOND” AT THE UNIVERSITY OF LEIPZIG, 29TH JUNE 2016 – 2ND JULY 2016 Tobias Ebbrecht-Hartmann (Jerusalem) Cinema – Memory – Witnessing: Implications of Hugo Münsterberg’s Writings for Media Memory Abstract: In recent years concepts of memory and witnessing gained increasing importance for media and film theory. Films and visual media can provoke and trigger memories, they can absorb structures and techniques of memory processes and they can be based on and play with (previous) media memory. ‘Media memory’ and ‘media witnessing’ already played a crucial role in Hugo Münsterberg’s thinking about cinema. In his psychology of the photoplay (1916/1970) he explicitly includes memory and imagination as important aspects for understanding films. The proposed paper intends to review Münsterberg’s writing about cinema from the perspective of memory and witnessing In recent years numerous disciplines in the humanities, social science and cultural studies experienced an increasing interest in concepts of memory. The (re-) appearance of past experiences in the present, the crucial importance of commemoration for social formation as well as the intergenerational and transgressive character of individual, social, communicative and cultural memory provoked new research and resulted in numerous studies. This increased concentration on memory studies also induced a renewed interest in earlier thoughts on that topic, and thus lead to the rediscovery of significant writings from 20st century thinkers such as Maurice Halbwachs, Henri Bergson or Walter Benjamin on that topic. While the first is considered having pioneered in developing the concept of “collective memory”, on which subsequent memory concepts – especially the distinction between communicative and cultural memory – by scholars such as Jan and Aleida Assmann or Harald Welzer are based, Bergson and Benjamin contributed to an increasing interest in conceptualizing memory in the fields of art, culture and communication. Correspondingly the interplay between film and processes of memory also gained increasing interest in the fields of media and film theory during the late 1990s and the first decade of the 21st century. Fueled by the ‘memory boom’ in different sections of audiovisual media production in course of global commemorations of the Holocaust and World Wart Two after 1995, as well as intensified through the shocking terrorist attacks from September 11, 2001, which immediately provoked debates about the relationship between violence, memory and experiences of ruptured time and trauma, scholars began to re-explore the relationship between memory and the cinema. One of the seminal studies of this decade was “Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture” by Alison Landsberg from 2004 that intended to combine the study of cinematic memory with phenomenological approaches that focus on bodily experience.
Cinema – Memory – Witnessing:... (PDF Download Available). Available from: https://www.researchgate.net/publication/306077439_Cinema_-_Memory_-_Witnessing_Implications_of_Hugo... [accessed Jun 10 2018].
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