Postnaturalism : : Frankenstein, Film, and the Anthropotechnical Interface / / Shane Denson.

• Superior document: Title is part of eBook package: De Gruyter transcript Complete eBook Package 2014
• VerfasserIn: Denson, Shane,
• MitwirkendeR: Hansen, Mark B. N.,; Hansen, Mark B.N.,
• Place / Publishing House: Bielefeld : : transcript Verlag, , [2014]; ©2014
• Year of Publication: 2014
• Edition: 1. Aufl.
• Language: English
• Series: Film
• Physical Description: 1 online resource (432 p.)
• Other title: Frontmatter --; Contents --; Acknowledgements --; Foreword: Logics of Transition --; 1. Introduction: Monster Movies and Metaphysics --; Part One --; 2. Frankenstein’s Filmic Progenies: A Techno-Phenomenological Approach --; 3. Monsters in Transit: Edison’s Frankenstein --; Part Two --; 4. To the Heart of (the) Matter: Frankenstein, Embodiment, Materiality --; 5. Of Steam Engines, Revolutions, and the (Un)natural History of Matter: A Techno-Scientific Interlude --; 6. Re-Focusing Cinematic Double Vision: Seriality, Mediality, and Mediation in Postnatural Perspective --; Part Three --; 7. Universal Monsters and Monstrous Particulars --; 8. Lines of Flight: Transitional Thoughts by Way of Conclusion --; Works Cited
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9783839428177; 9783111025223; 9783110489842; 9783110661552; 9783110401226
• DOI: 10.1515/transcript.9783839428177?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Shane Denson.

»Postnaturalism« offers an original account of human-technological co-evolution and argues that film and media theory, in particular, needs to be re-evaluated from the perspective of our material interfaces with a constantly changing environment. Extrapolating from Frankenstein films and the resonances they establish between a hybrid monster and the spectator hooked into the machinery of the cinema, Shane Denson engages debates in science studies and philosophy of technology to rethink histories of cinema, media, technology, and ultimately of the affective channels of our own embodiment.With a foreword by media theorist Mark B. N. Hansen.