English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

In his book Cinema 1, Gilles Deleuze mentions that one of the specificities of the projection screen is to give a common measure to the different abjects caught by the eye of the camera, when these objects do not share any common traits in the real world. In so doing, cinema shatters the concept of natural perception by presenting as unproblematic a visual scale that, in any other given context, would seem inconceivable: [ ... ] the screen, as the frame of frames, gives a common standard of measurement to things which do not have onelong shots of countryside and close-ups of the face, an astronomical system and a single drop of waterparts which do not have the same denominator of distance, relief or light. In ail these senses the frame ensures a deterritorialization of the image. (Deleuze 1986: 14-15 my emphasis) Deleuze appears to consider the cinematic image to be a distortion of reality: ifthe frame is what gives its unity to the film and constitutes "the logic of what we see on the screen" (Buchanan 2006: 140), its composition (i.e. the succession of images that constitute the narrative) represents the utmost violation ofwhat we commonly deem "true" or "realistic". Steven Shaviro further exemplifies this dichotomy when he points out the dual nature of film images as they present themselves to the viewer:

The Body Out-of-Bounds: Trauma, Corporeality and Representation in Marina de Van's Ne te retourne pas/Don't Look Back (2009)