[Commlist] New book: Black Screens, White Frames: Gilles Deleuze and the Filmmaking Machine

*/Black Screens, White Frames: Gilles Deleuze and the Filmmaking 
Machine/ by Tanya Shilina-Conte is now available from Oxford University 
Press_: 
_*_https://global.oup.com/academic/product/black-screens-white-frames-9780197511336?cc=us&lang=en&# 
<https://global.oup.com/academic/product/black-screens-white-frames-9780197511336?cc=us&lang=en&;>_
*Read the free chapter (available until March 6, 2025):*
_https://academic.oup.com/book/58900/chapter/492899106 
<https://academic.oup.com/book/58900/chapter/492899106>_
*This chapter is available to read without the need for payment, 
subscription, or registration. Institutions and libraries can subscribe 
to or purchase Oxford Academic content. If you would like to access this 
book in full, *recommend it to your librarian*: 
_https://academic.oup.com/pages/get-help-with-access/recommend-to-your-librarian 
<https://academic.oup.com/pages/get-help-with-access/recommend-to-your-librarian>_
Online ISBN: 9780197511367
Print ISBN: 9780197511336
*Information for Academic Reviewers:*
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*Academic Journal review copy requests:*
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*DESCRIPTION:*
*
*
/Black Screens, White Frames/ offers a new understanding of cinematic 
blankness. Drawing on Gilles Deleuze’s philosophy and pursuing an 
affirmative approach to non-images through the concept of the filmmaking 
machine, Tanya Shilina-Conte shows how absence as a productive mode 
alters the ways in which we study film.

  * Provides the first comprehensive account of blankness, darkness, and
    non-images in cinema.
  * Reassesses cinematic absence as generative while re-evaluating
    canonical as well as rare films.
  * Draws on Gilles Deleuze's film-philosophy to advance a theory of the
    filmmaking machine.
  * Introduces new film-philosophical concepts, such as folds to black
    or white and elective mutism.

*TABLE OF CONTENTS:*
*
*
Fade-In: Introduction. The Filmmaking Machine, or Thirteen Ways of 
Looking at the Black or White Screen
Chapter 1. Divergent Darkness: The Black Screen in Early Cinema
Chapter 2. Convergent Codes: Fade-ins and Fade-outs as Rational 
Transitions in Classical Cinema
Chapter 3. The Black or White Screen as a Tool of Deterritorialization 
in Modern and Experimental Cinema
Chapter 4. One Chapter Less: The Black or White Screen in Minor Cinema
Chapter 5. Folds to Black or White in Minor Cinema and Art Practice
Chapter 6. Alternate Endings: The Black or White Screen in Post-Cinema
Fade-Out: Conclusion. /This Video Does Not Exist/: The Remix of Black or 
White Screens and Multimodal Scholarship
*ENDORSMENTS:*
"An important expansion of Deleuzian cinematic philosophy, /Black 
Screens, White Frames/ reconceptualizes the "blank" screen as a 
populated and performative machine. With limpid, compelling writing, 
Shilina-Conte guides the reader confidently through a generative 
assemblage of concepts, illuminates their contexts, and tests them on an 
exciting variety of movies, from early cinema to supercut, that release 
enfolded powers." -- *Laura U. Marks, Simon Fraser University*
"In /Black Screens, White Frames/, Tanya Shilina-Conte demonstrates the 
generative power and infinite possibilities for new thought, unknown 
sensations, and untold stories one can find at the limits of perception 
when there is nothing more (or nothing yet) to see. Extensively 
researched, intelligently written, and conceptually strong, this book 
sheds new light on both film history and more contemporary post-cinema's 
digital modulations. By exploring the ways in which the virtual and the 
unseen can be considered as an integral part of the 'filmmaking 
machine,' this is an excellent and recommendable contribution to 
film-philosophy." -- *Patricia Pisters, University of Amsterdam*
/Black Screens, White Frames /brilliantly expands on the philosophy of 
Deleuze and Guattari to show how the use of black screens and white 
frames can vacillate between an expression of conservative narratology 
and radical deterritorializations, from early cinema to post-war 
experimental and non-western minoritarian cinema. This book is not only 
an exemplary work of film-philosophy but also the perfect reader’s guide 
to the practical application of Deleuze and Guattari’s philosophy as a 
whole. Perhaps the greatest accolade one could give Professor 
Shilina-Conte is that she is not only an accomplished scholarly and film 
auteur but also the ultimate catalyst for our own creative involvement 
in the films themselves. - *Colin Gardner, UC Santa Barbara*
*AUTHOR INFORMATION:*
*Tanya Shilina-Conte *is Assistant Professor of Global Film Studies in 
the Department of English, University at Buffalo. Her essays have 
appeared in /Screen, Film-Philosophy, Frames Cinema Journal, Word & 
Image, Studia Phænomenologica, In Media Res, Iran Namag, Leitura: Teoria 
& Prática, Studia Linguistica, Border Visions: Identity and Diaspora in 
Film/, and elsewhere.
__
**
**


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