In this book, Seung-hoon Jeong introduces the cinematic
interface as a contact surface that mediates between image and
subject, proposing that this mediation be understood not simply as
transparent and efficient but rather as asymmetrical, ambivalent,
immanent, and multidirectional. Jeong enlists the new media term
"interface" to bring to film theory a synthetic notion of
interfaciality as underlying the multifaceted nature of both the
image and subjectivity. Drawing on a range of films, Jeong examines
cinematic interfaces seen on screen and the spectator s experience
of them, including: the direct appearance of a
camera/filmstrip/screen, the character s bodily contact with such a
medium-interface, the object s surface and the subject s face as
"quasi-interface," and the image itself. Each of these case studies
serves as a platform for remapping and revamping major concepts in
film studies such as suture, embodiment, illusion, signification,
and indexicality. Looking to such theories as the ontology of the
image and the phenomenology of the body, this original theorization
of the cinematic interface not only offers a conceptual framework
for rethinking and re-linking film and media studies, but also
suggests a general theory of the interface."
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