- Paperback: 248 pages
- Publisher: University of Minnesota Press; illustrated edition edition (25 Dec 2005)
- Language English
- ISBN-10: 0816646112
- ISBN-13: 978-0816646111
- Product Dimensions: 22.7 x 16.4 x 1.2 cm
- Amazon Bestsellers Rank: 1,271,361 in Books (See Top 100 in Books)
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Synopsis
This book explores the "avisual" and its effect on the visual world. Dreams, x-rays, atomic radiation, and "invisible men" are phenomena that are visual in nature but unseen. "Atomic Light (Shadow Optics)" reveals these hidden interiors of cultural life, the "avisual" as it has emerged in the writings of Jorge Luis Borges and Jacques Derrida, Tanizaki Jun'ichiro and Sigmund Freud, and H. G. Wells and Ralph Ellison, and in the early cinema and the postwar Japanese films of Kobayashi Masaki, Teshigahara Hiroshi, Kore-eda Hirokazu, and Kurosawa Kiyoshi, all under the shadow cast by the atomic bombings of Hiroshima and Nagasaki. Akira Mizuta Lippit focuses on historical moments in which such modes of avisuality came into being - the arrival of cinema, which brought imagination to life; psychoanalysis, which exposed the psyche; the discovery of x-rays, which disclosed the inside of the body; and the "catastrophic light" of Hiroshima and Nagasaki, which instituted an era of atomic discourses.With a taut, poetic style, Lippit produces speculative readings of secret and shadow archives and visual structures or phenomenologies of the inside, charting the materiality of what both can and cannot be seen in the radioactive light of the twentieth century.
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4 of 6 people found the following review helpful
Phenomenology meets Physics
30 Jun 2009
Format:Paperback
This is a thoughtful, rather original treatment of light and space in cinematic media that effectively weds the visible with the invisible, the real with the unreal, the phenomenological with the physical. If you expect philosophy, you will find a kind of poetry here. Lippit wallows in a liminal space, finding and expanding fuzzy in-between areas that have been problematic or neglected in cinema studies. Accessibility isn't Lippit's main priority; nor is coherence, strictly speaking. Instead, he submerges his thought in the present zeitgeist and observes the numerous dialectics inherent in the physical world and exploited by cinema.
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