{"version":"1.0","type":"rich","provider_name":"Context XXI","provider_url":"http:\/\/contextxxi.org","title":"In and Against Cinema\n","author_name":"Reuben Keehan (translation) \u25aa \nSituationistische Internationale","width":"1200","height":"800","url":"https:\/\/contextxxi.org\/in-and-against-cinema.html","html":"\u003Ch4 class='title'\u003E\u003Ca href='https:\/\/contextxxi.org\/in-and-against-cinema.html'\u003EIn and Against Cinema\n\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003EIn the sense that its development shows a continuous tendency toward integrating new mechanical technologies, cinema is the central art of our society. It is therefore the best representation of an era of anarchically juxtaposed interventions (not articulated, merely added) \u2014 not only as anecdotal and formal expression, but also in its material infrastructure. Following on from the big screen, the introduction of stereophonics, and experiments with three dimensional pictures, the \u003Ca href=\"in-and-against-cinema.html\" class=' pts_suite'\u003E(...)\u003C\/a\u003E\u003C\/blockquote\u003E\n"}