But neither Jameson nor anybody else has been able to theorize this process, to give an adequate account of just how it works. Until now. That is to say, it is not only the case that the dominant world economy of today — with its massive production and circulation of commodities, and its continuing accumulation of capital, through the extraction of more and more surplus value in processes of hyperexploitation — is represented, or epitomized, in the cinematic production, circulation, and accumulation of images. But also , these basic economic processes production, circulation, exploitation, and accumulation are actually accomplished in and through the cinema.
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Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. This process, he says, underpins the current global economy. By exploring a set of films made since the late s, Beller argues that, through cinema, capital first posits and then presupposes looking as a value-productive activity.
He argues that cinema, as the first crystallization of a new order of media, is itself an abstraction of assembly-line processes, and that the contemporary image is a politico-economic interface between the body and capitalized social machinery. Where factory workers first performed sequenced physical operations on moving objects in order to produce a commodity, in the cinema, spectators perform sequenced visual operations on moving montage fragments to produce an image.
Beller develops his argument by highlighting various innovations and film texts of the past century. These innovations include concepts and practices from the revolutionary Soviet cinema, behaviorism, Taylorism, psychoanalysis, and contemporary Hollywood film.
He thus develops an analysis of what amounts to the global industrialization of perception that today informs not only the specific social functions of new media, but also sustains a violent and hierarchical global society. Get A Copy. Paperback , pages. Published December 1st by Dartmouth College Press. More Details Original Title.
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Aug 20, Dan rated it it was ok. How odd: I mostly agree with the book's main argument, but couldn't stand the way the author approached or developed it, and found the impossibly pretentious and quite clunky writing just about impossible to follow.
These two sentences, chosen more or less at random, offer a quite typical illustration of Beller's hyperbolic but empty-sounding prose: "Given the image of the globe of globalization as the sublime figure of our universal disempowerment, it should come as no surprise that the labor ne How odd: I mostly agree with the book's main argument, but couldn't stand the way the author approached or developed it, and found the impossibly pretentious and quite clunky writing just about impossible to follow.
These two sentences, chosen more or less at random, offer a quite typical illustration of Beller's hyperbolic but empty-sounding prose: "Given the image of the globe of globalization as the sublime figure of our universal disempowerment, it should come as no surprise that the labor necessary to produce the manifold forms of our systemic compatibility is our humanity's own.
On an immediate level, this claim implies that we work for big corporations when we watch their advertising, or submit to their p r grams, but more generally, our myriad participations in the omni-present technology fest are engaged in ensuring the compatibility of our sensoriums with prevailing methods of interpellation, signalization, and inconsiousification, in addition to whatever else they're doing.
View 2 comments. Aug 29, Chris Tempel rated it it was amazing Shelves: testify. After reading a very different book on cinema bell hook's Reel to Real, which is about black representation and its possibility I would like to see what Beller has to say about anti-colonial representations in radical African-American films. Paul Sparks rated it it was amazing Dec 15, Marilia Kaisar rated it it was amazing Dec 05, Ryan rated it really liked it Jul 14, Paul rated it it was amazing Aug 23, Katarina rated it really liked it Nov 14, Jaime Eisen rated it it was amazing Apr 07, Jackie rated it really liked it Nov 05, Lemis rated it it was amazing May 01, Joel rated it really liked it May 19, Jake rated it it was amazing Jul 30, Jessica rated it liked it May 18, Dustin Breitling rated it it was amazing Mar 08, Jacques de Villiers rated it it was ok Mar 08, Michael Yc rated it it was amazing Feb 01, Molly rated it it was amazing Oct 24, Jarrod Welling-cann rated it it was amazing Aug 31, Eva rated it really liked it Nov 12, Chelsea rated it really liked it Jun 22, Fritzie rated it it was amazing Sep 05, John rated it really liked it Jan 10, Anne E Ronan rated it liked it Dec 26, Emily M marked it as to-read Jul 20, Anjali marked it as to-read Mar 03, Holly marked it as to-read Mar 23, Bellflower marked it as to-read Oct 12, Stevphen Shukaitis marked it as to-read Feb 06, Karsten marked it as to-read Mar 03, Elizabeth marked it as to-read May 09, Ryan Gato added it May 18, Robin added it Jul 28, N marked it as to-read Aug 07, Paul marked it as to-read Jan 08, David Smith added it Feb 08, Sasha marked it as to-read Mar 09, Christopher Schulz marked it as to-read Jun 01, Tameca marked it as to-read Feb 19, Zee marked it as to-read Feb 29, Christien marked it as to-read Mar 19, Jennifer marked it as to-read Jun 09, There are no discussion topics on this book yet.
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The Cinematic Mode of Production
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The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle
Jonathan Beller is a film theorist, culture critic and mediologist. He is the recipient of numerous awards and fellowships  including Mellon, J. Getty and Fulbright Foundation grants and honours. Beller's major work, The Cinematic Mode of Production , proposes that cinema and its successor media television, new digital audiovisual media "brought the industrial revolution to the eye" and located the production of capital in the cerebral cortex. He has developed an analysis of what new media futurists call the " attention economy " within a Marxist approach to production that forefronts looking as labor. Thus Beller proposes an understanding of exploitation and value creation today, with the important innovation of digital visual entertainment commodities of all sorts - furthering the proliferation of what Debord called " The Spectacle " "capital at a degree of abstraction it has become image" - that completes Marx's analysis rather than refutes or "rethinks" it:. I am interested in the structural, psychological, libidinal, and corporeal adaptation of spectators to the protocols of global production.