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With an innovative and strongly interdisciplinary theoretical framework, this book offers an extensive investigation of the use of audio-visuals in exhibition design.
An International Study of Film Museums examines how cinema has been transformed and strengthened through museological and archival activities since its origins and asks what paradoxes may be involved, if any, in putting cinema into a museum. Cere explores the ideas that were first proposed during the first half of the twentieth century around the need to establish national museums of cinema and how these have been adapted in the subsequent development of the five case studies presented here: four in Europe and one in the USA. The book traces the history of the five museums' foundation, exhibitions, collections, and festivals organised under their aegis and it asks how they resolve the tensions between cinema as an aesthetic artefact – now officially recognised as part of humanity's cultural heritage – and cinema as an entertainment and leisure activity. It also gives an account of recent developments around unifying collections, exhibition activities and archives in one national film centre that offers the general public a space totally devoted to film and cinematographic culture. An International Study of Film Museums provides a unique comparative study of museums of cinema in varying national contexts. The book will be of interest to academics and students around the world who are engaged in the study of museums, archives, heritage, film, history and visual culture.
By 1915, Hollywood had become the epicenter of American filmmaking, with studio "dream factories" structuring its vast production. Filmmakers designed Hollywood studios with a distinct artistic and industrial mission in mind, which in turn influenced the form, content, and business of the films that were made and the impressions of the people who viewed them. The first book to retell the history of film studio architecture, Studios Before the System expands the social and cultural footprint of cinema's virtual worlds and their contribution to wider developments in global technology and urban modernism. Focusing on six significant early film corporations in the United States and France—the Edison Manufacturing Company, American Mutoscope and Biograph, American Vitagraph, Georges Méliès's Star Films, Gaumont, and Pathé Frères—as well as smaller producers and film companies, Studios Before the System describes how filmmakers first envisioned the space they needed and then sourced modern materials to create novel film worlds. Artificially reproducing the natural environment, film studios helped usher in the world's Second Industrial Revolution and what Lewis Mumford would later call the "specific art of the machine." From housing workshops for set, prop, and costume design to dressing rooms and writing departments, studio architecture was always present though rarely visible to the average spectator in the twentieth century, providing the scaffolding under which culture, film aesthetics, and our relation to lived space took shape.
Experience the thrill of flying some of the world's most important airplanes and spacecraft. Best of the National Air and Space Museum provides unprecedented access to the most popular museum in the world. The Smithsonian's National Air and Space Museum hosts an average of seven million visits every year. The Udvar-Hazy Center—three football fields long and ten stories high—receives more than one million visits annually. Best of the National Air and Space Museum features the best of both museums, from the Challenger space shuttle and the Wright flyer to the Spirit of St. Louis and the stealth bomber. Robert Van der Linden, curator of aeronautics, has selected the most important, popular, and just plain impressive aircraft and spacecraft from the collections of both museums to be showcased in this beautiful book. Each page spread includes intriguing facts of the item's design, use, mission, specifications, and dimensions. A must-have for space and aviation buffs.
Why has Taiwanese film been so appealing to film directors, critics, and audiences across the world? This book argues that because Taiwan is a nation without hard political and economic power, cinema becomes a form of soft power tool that Taiwan uses to attract global attention, to gain support, and to build allies. Author Song Hwee Lim shows how this goal has been achieved by Taiwanese directors whose films win the hearts and minds of foreign audiences to make Taiwan a major force in world cinema. The book maps Taiwan's cinematic output in the twenty-first century through the three keywords in the book's subtitle-authorship, transnationality, historiography. Its object of analysis is the legacy of Taiwan New Cinema, a movement that begun in the early 1980s that has had a lasting impact upon filmmakers and cinephiles worldwide for nearly forty years. By examining case studies that include Hou Hsiao-hsien, Ang Lee, and Tsai Ming-liang, this book suggests that authorship is central to Taiwan cinema's ability to transcend borders to the extent that the historiographical writing of Taiwan cinema has to be reimagined. It also looks at the scaling down of soft power from the global to the regional via a cultural imaginary called little freshness, which describes films and cultural products from Taiwan that have become hugely popular in China and Hong Kong. In presenting Taiwan cinema's significance as a case of a small nation with enormous soft power, this book hopes to recast the terms and stakes of both cinema studies and soft power studies in academia.
The images of atrocity, either analog or digital, are always the trace of an encounter between the gaze of a photographer or a cameraman and a human being sufferingfrom the painful effects of man-made violence. The archive images resulting from such an encounter raise some inevitable questions: who took them and for what purpose? Is it possible to retrace the process that led to these shots? What do they hide behind what the eye can see? This special issue of Cinéma & Cie will not only focus on the production of such images, but also on their persistence on the synchronic level (in the media: newspapers, magazines, cinema, television, the Internet, museums...) as well as on the diachronic level (across time: mutation, re-editing, inversion...). From propaganda to counter-propaganda, from purposes of memory to artistic aims, the circulation of these images proves that repetition always implies difference.
MUSEUM MEDIA Edited by Michelle Henning Museum Media explores the contemporary uses of diverse media in museum contexts and discusses how technology is reinventing the museum. It considers how technological changes—from photography and television through to digital mobile media—have given rise to new habits, forms of attention and behaviors. It explores how research methods can be used to understand people's relationships with media technologies and display techniques in museum contexts, as well as the new opportunities media offer for museums to engage with their visitors. Entries written by leading experts examine the transformation of history and memory by new media, the ways in which exhibitions mediate visitor experience, how designers and curators can establish new kinds of relationships with visitors, the expansion of the museum beyond its walls and its insertion into a wider commercial and corporate landscape. Focusing on formal, theoretical and technical aspects of exhibition practice, this in-depth volume explores questions of temporality, attachment to objects, atmospheric and immersive exhibition design, the reinvention of the exhibition medium, and much more.
The International Handbooks of Museum Studies is a multi-volume reference work that represents a state-of-the-art survey of the burgeoning field of museum studies. Featuring original essays by leading international museum experts and emerging scholars, readings cover all aspects of museum theory, practice, debates, and the impact of technologies. The four volumes in the series, divided thematically, offer in-depth treatment of all major issues relating to museum theory; historical and contemporary museum practice; mediations in art, design, and architecture; and the transformations and challenges confronting the museum. In addition to invaluable surveys of current scholarship, the entries include a rich and diverse panoply of examples and original case studies to illuminate the various perspectives. Unprecedented for its in-depth topic coverage and breadth of scholarship, the multi-volume International Handbooks of Museum Studies is an indispensable resource for the study of the development, roles, and significance of museums in contemporary society.
This publication engages with a futuristic progressive vision on the condition of cinema. By questioning and analyzing cinema's past and present industry with respect to various forms of staging from the perspective of artistic practice and research, a new space beyond is formulated. The author takes on a journey to reveal an imaginary—astronomical—political trope on and through what can be called the cinema of the present.
A ground-breaking anthology that places dispositifs (“apparatuses”) at the center of contemporary thought. Dispositif is one of the most prevalent yet elusive terms in contemporary thought. This comprehensive anthology brings together formative, seminal, and contemporary texts and visual applications to illuminate how central dispositifs are to contemporary theory. Greg Bird and Giovanbattista Tusa’s selection and placement of critical texts invite readers to explore common themes and genealogies, different interpretations and readings, and their diverse deployments across multiple disciplines and genres by such figures as Karl Marx, Franz Kafka, Judith Butler, Martin Heidegger, Gilbert Simondon, Michel Foucault, Edward Said, Jasbir Puar, Donna Haraway, Giorgio Agamben, Jacques Derrida, Tiqqun, Claire Fontaine, and many others. Dispositif: A Cartography is a true toolbox for the development of technological ecology thinking that accounts for situated knowledge. This collection provides coordinates for reorienting oneself in a permanently changing world, offering possible roadmaps for navigating these profoundly uncertain times. More than just a compilation of interventions on the dispositif, this volume acts as a guide for understanding the complex interaction between technology, philosophy, and the languages of the arts and media.