Anne Friedberg The Virtual Window Pdf

09.08.2019
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  1. Anne Friedberg, The Virtual Window: From Alberti to Microsoft (Cambridge, MA: MIT Press, 2006), 9–10.Google Scholar
  2. For details of the emergence of the artist-reporter as a profession, see George Eyre Todd, ed., The Autobiography of William Simpson, R. I. (London: T. Fisher Unwin, 1903);Google Scholar
  3. Mason Jackson, The Pictorial Press: Its Origin and Purpose (London: Hurst & Blackett, 1885);Google Scholar
  4. Paul Hogarth, The Artist as Reporter (London: Gordon Fraser Gallery Limited, 1986).Google Scholar
  5. George Augustus Sala, India and the Prince of Wales [the Indian extra number of The Illustrated London News], London, 1875), 7. Sala had no further involvement with the reportage of the prince’s tour after the writing of this special number.Google Scholar
  6. For a discussion of the virtuality exhibited by these other cultural forms, see Paul Arthur, Virtual Voyages: Travel Writing and the Antipodes 1605–1837 (London: Anthem Press, 2010);Google Scholar
  7. Alison Byerly, Are We There Yet? Virtual Travel and Victorian Realism (Ann Arbor: The University of Michigan Press, 2013);Google Scholar
  8. Alison Griffiths, Shivers Down Your Spine: Cinema, Museums, and the Immersive View (New York: Columbia UP, 2008).Google Scholar
  9. For references to the history of imaginary travel as an artistic genre, see Mildred Archer and Ronald Lightbown, India Observed: India as Viewed by British Artists 1760–1860, (London: Victoria and Albert Museum, 1982), 14, 79–80, 82, 86; Arthur, Virtual Voyages xvii–xxii, 1–7; Byerly, Are We There Yet? 1–14, 25–26, 28; Griffiths, Shivers 40, 49, 84–86.Google Scholar
  10. William Simpson, Notes and Recollections of My Life (handwritten memoirs in the collection of the National Library of Scotland), 1889, 296–97.Google Scholar
  11. After his travels around India in 1859–1862, Simpson became a member of the Royal Asiatic Society, befriended the well-known authority on Indian architecture James Fergusson, and published several articles on Indian culture and theology. William Simpson, Notes and Recollections (1889), 234, 246; Eyre Todd, ed., Autobiography of William Simpson, 175.Google Scholar
  12. See W. H. Russell, The Prince of Wales’ Tour: A Diary of India (London: Sampson Low, Marston, Searle & Rivington, 1877).Google Scholar
  13. Studies investigating the role of art and photography in constituting an “imagined India” include Archer and Lightbown, India Observed; Pratapaditya Pal and Vidya Dehiejia, From Merchants to Emperors: British Artists and India 1757–1930 (Ithaca, NY: Cornell UP, 1986);Google Scholar
  14. James Ryan, Picturing Empire: Photography and the Visualization of the British Empire (Chicago: University of Chicago Press, 1997);Google Scholar
  15. Romita Ray, “The Memsahib’s Brush,” in Orientalism Transposed: The Impact of the Colonies on British Culture, eds. Julie F. Codell and Dianne Sachko Macleod (Aldershot, UK: Ashgate, 1998);Google Scholar
  16. Giles Tillotson, The Artificial Empire: The Indian Landscapes of William Hodges (Richmond, UK Curzon, 2000);Google Scholar
  17. Hermione de Almeida and George H. Gilpin, Indian Renaissance: British Romantic Art and the Prospect of India (Aldershot, UK: Ashgate, 2006).Google Scholar
  18. Julie Codell, in her pioneering investigations of the workings of the nineteenth-century press, notes how the periodicals effectively produced a “virtual printed space” shared between Britain and its colonies but does not explore the idea further, Julie F. Codell, ed., Imperial Co-Histories— National Identities and the British Colonial Press (Madison, UK: Fairleigh Dickinson UP, 2003), 15, 18.Google Scholar
  19. Michael Fried, Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (New Haven, CT: Yale UP, 2002), 13, 19.Google Scholar
  20. Baudelaire used Guys as the exemplar of a new class of artist he identified as “the Painter of Modern Life”: Charles Baudelaire, The Painter of Modern Life and Other Essays, trans. and ed. John Mayne (London: Phaidon Press, 1964), 16.Google Scholar
  21. For the workings of this progression and the “mimetic fallacy,” see Wilcox, Edward Lear 35–37, and Nancy Armstrong, “Realism before and after Photography: The Fantastical Form of a Relation among Things,” in A Concise Companion to Realism, ed. Matthew Beaumont (Oxford: Wiley-Blackwell, 2010), 102–9.Google Scholar
  22. Sontag’s line is quoted in James Ryan, Picturing Empire: Photography and the Visualization of the British Empire (Chicago: University of Chicago Press, 1997), 72. For the prevalence of this approach, see Nancy Armstrong, “Realism before and after Photography” 107–16;Google Scholar
  23. James Ryan, “Images and Impressions: Printing, Reproduction and Photography,” in The Victorian Vision: Inventing New Britain, ed. John M. Mackenzie (London: V&A Publications, 2001), 223, 227, 234;Google Scholar
  24. Peter D. Osborne, Travelling Light: Photography, Travel and Visual Culture (Manchester: Manchester UP, 2000), 3, 9, 19, 22; Wilcox, Edward Lear 36–7; Ryan, Picturing Empire 16, 26, 45–47, 72, 214;Google Scholar
  25. Jennifer Green-Lewis, Framing the Victorian: Photography and the Culture of Realism (Ithaca, NY: Cornell University Press, 1996), 6, 25, 100, 106, 110; Pal and Dehiejia, From Merchants 206.Google Scholar
  26. A view of Jaipur by Deen Dayal, The Chandra Mahal of the City Palace, dated to 1876,Google Scholar
  27. is illustrated in Vibhuti Sachdev and Giles Tillotson, Building Jaipur: The Making of an Indian City (London: Reaktion Books, 2002).Google Scholar
  28. This was the company’s standard business practice. For details see Gary D. Sampson, “Unmasking the Colonial Picturesque: Samuel Bourne’s Photographs of Barrackpore Park,” in Colonialist Photography: Imag[in] ing Race and Place, eds. Eleanor M. Hight and Gary D. Sampson (London: Routledge, 2002), 87, 102–3.Google Scholar
  29. Heinz K. Henisch and Bridget A. Henisch, The Photographic Experience 1839–1914: Image and Attitudes (University Park: The Pennsylvania State UP, 1994), 13.Google Scholar
  30. Harry V. Barnett, “The Special Artist,” The Magazine of Art (London: Cassell and Company, 1883), 166.Google Scholar
  31. E. R. Jaensch, Eidetic Imagery and Typological Methods of Investigation (Westport, CT: Greenwood Press, 1930, reprinted 1970), 1–5.Google Scholar
  32. Quoted in Geoffrey Bennett, Charlie B: A Biography of Admirral Lord Beresford of Metemmeh and Carraghmore (London: Peter Dawnay, 1968), 56.Google Scholar
Anne
  1. Anne Friedberg, The Virtual Window: From Alberti to Microsoft (Cambridge, MA: MIT Press, 2006), 9–10.Google Scholar
  2. For details of the emergence of the artist-reporter as a profession, see George Eyre Todd, ed., The Autobiography of William Simpson, R. I. (London: T. Fisher Unwin, 1903);Google Scholar
  3. Mason Jackson, The Pictorial Press: Its Origin and Purpose (London: Hurst & Blackett, 1885);Google Scholar
  4. Paul Hogarth, The Artist as Reporter (London: Gordon Fraser Gallery Limited, 1986).Google Scholar
  5. George Augustus Sala, India and the Prince of Wales [the Indian extra number of The Illustrated London News], London, 1875), 7. Sala had no further involvement with the reportage of the prince’s tour after the writing of this special number.Google Scholar
  6. For a discussion of the virtuality exhibited by these other cultural forms, see Paul Arthur, Virtual Voyages: Travel Writing and the Antipodes 1605–1837 (London: Anthem Press, 2010);Google Scholar
  7. Alison Byerly, Are We There Yet? Virtual Travel and Victorian Realism (Ann Arbor: The University of Michigan Press, 2013);Google Scholar
  8. Alison Griffiths, Shivers Down Your Spine: Cinema, Museums, and the Immersive View (New York: Columbia UP, 2008).Google Scholar
  9. For references to the history of imaginary travel as an artistic genre, see Mildred Archer and Ronald Lightbown, India Observed: India as Viewed by British Artists 1760–1860, (London: Victoria and Albert Museum, 1982), 14, 79–80, 82, 86; Arthur, Virtual Voyages xvii–xxii, 1–7; Byerly, Are We There Yet? 1–14, 25–26, 28; Griffiths, Shivers 40, 49, 84–86.Google Scholar
  10. William Simpson, Notes and Recollections of My Life (handwritten memoirs in the collection of the National Library of Scotland), 1889, 296–97.Google Scholar
  11. After his travels around India in 1859–1862, Simpson became a member of the Royal Asiatic Society, befriended the well-known authority on Indian architecture James Fergusson, and published several articles on Indian culture and theology. William Simpson, Notes and Recollections (1889), 234, 246; Eyre Todd, ed., Autobiography of William Simpson, 175.Google Scholar
  12. See W. H. Russell, The Prince of Wales’ Tour: A Diary of India (London: Sampson Low, Marston, Searle & Rivington, 1877).Google Scholar
  13. Studies investigating the role of art and photography in constituting an “imagined India” include Archer and Lightbown, India Observed; Pratapaditya Pal and Vidya Dehiejia, From Merchants to Emperors: British Artists and India 1757–1930 (Ithaca, NY: Cornell UP, 1986);Google Scholar
  14. James Ryan, Picturing Empire: Photography and the Visualization of the British Empire (Chicago: University of Chicago Press, 1997);Google Scholar
  15. Romita Ray, “The Memsahib’s Brush,” in Orientalism Transposed: The Impact of the Colonies on British Culture, eds. Julie F. Codell and Dianne Sachko Macleod (Aldershot, UK: Ashgate, 1998);Google Scholar
  16. Giles Tillotson, The Artificial Empire: The Indian Landscapes of William Hodges (Richmond, UK Curzon, 2000);Google Scholar
  17. Hermione de Almeida and George H. Gilpin, Indian Renaissance: British Romantic Art and the Prospect of India (Aldershot, UK: Ashgate, 2006).Google Scholar
  18. Julie Codell, in her pioneering investigations of the workings of the nineteenth-century press, notes how the periodicals effectively produced a “virtual printed space” shared between Britain and its colonies but does not explore the idea further, Julie F. Codell, ed., Imperial Co-Histories— National Identities and the British Colonial Press (Madison, UK: Fairleigh Dickinson UP, 2003), 15, 18.Google Scholar
  19. Michael Fried, Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (New Haven, CT: Yale UP, 2002), 13, 19.Google Scholar
  20. Baudelaire used Guys as the exemplar of a new class of artist he identified as “the Painter of Modern Life”: Charles Baudelaire, The Painter of Modern Life and Other Essays, trans. and ed. John Mayne (London: Phaidon Press, 1964), 16.Google Scholar
  21. For the workings of this progression and the “mimetic fallacy,” see Wilcox, Edward Lear 35–37, and Nancy Armstrong, “Realism before and after Photography: The Fantastical Form of a Relation among Things,” in A Concise Companion to Realism, ed. Matthew Beaumont (Oxford: Wiley-Blackwell, 2010), 102–9.Google Scholar
  22. Sontag’s line is quoted in James Ryan, Picturing Empire: Photography and the Visualization of the British Empire (Chicago: University of Chicago Press, 1997), 72. For the prevalence of this approach, see Nancy Armstrong, “Realism before and after Photography” 107–16;Google Scholar
  23. James Ryan, “Images and Impressions: Printing, Reproduction and Photography,” in The Victorian Vision: Inventing New Britain, ed. John M. Mackenzie (London: V&A Publications, 2001), 223, 227, 234;Google Scholar
  24. Peter D. Osborne, Travelling Light: Photography, Travel and Visual Culture (Manchester: Manchester UP, 2000), 3, 9, 19, 22; Wilcox, Edward Lear 36–7; Ryan, Picturing Empire 16, 26, 45–47, 72, 214;Google Scholar
  25. Jennifer Green-Lewis, Framing the Victorian: Photography and the Culture of Realism (Ithaca, NY: Cornell University Press, 1996), 6, 25, 100, 106, 110; Pal and Dehiejia, From Merchants 206.Google Scholar
  26. A view of Jaipur by Deen Dayal, The Chandra Mahal of the City Palace, dated to 1876,Google Scholar
  27. is illustrated in Vibhuti Sachdev and Giles Tillotson, Building Jaipur: The Making of an Indian City (London: Reaktion Books, 2002).Google Scholar
  28. This was the company’s standard business practice. For details see Gary D. Sampson, “Unmasking the Colonial Picturesque: Samuel Bourne’s Photographs of Barrackpore Park,” in Colonialist Photography: Imag[in] ing Race and Place, eds. Eleanor M. Hight and Gary D. Sampson (London: Routledge, 2002), 87, 102–3.Google Scholar
  29. Heinz K. Henisch and Bridget A. Henisch, The Photographic Experience 1839–1914: Image and Attitudes (University Park: The Pennsylvania State UP, 1994), 13.Google Scholar
  30. Harry V. Barnett, “The Special Artist,” The Magazine of Art (London: Cassell and Company, 1883), 166.Google Scholar
  31. E. R. Jaensch, Eidetic Imagery and Typological Methods of Investigation (Westport, CT: Greenwood Press, 1930, reprinted 1970), 1–5.Google Scholar
  32. Quoted in Geoffrey Bennett, Charlie B: A Biography of Admirral Lord Beresford of Metemmeh and Carraghmore (London: Peter Dawnay, 1968), 56.Google Scholar
Scenic luminous virtual window

Window shopping: cinema and the postmodern User Review - Not Available - Book Verdict. This scholarly work proposes that an integral feature of both film and television is the 'mobilized virtual gaze.' Anne friedberg the virtual window pdf Posted on January 15, 2019 by admin The Virtual Window: From Alberti to Microsoft Anne Friedberg on. FREE. shipping on qualifying offers.

Film Quarterly

Anne friedberg window shopping pdf By admin in Technology Departing from those who define postmodernism in film merely as a visual style or set of narrative conventions, Anne Friedberg develops the first sustained.

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