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As the cinematic experience becomes subsumed into ubiquitous technologies of seeing, contemporary artworks lift the cinematic from the immateriality of the film screen, separating it into its physical components within the gallery space. How do film theorists read these reformulations of the cinematic medium and their critique of what it is and has been? Theorizing Cinema through Contemporary Art: Expanding Cinema considers artworks that incorporate, restage, and re-present cinema's configurations of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, thereby addressing the creation, appraisal, and evolution of film theory as channeled through contemporary art. Taking film theory as a blueprint for the moving image, and juxtaposing it with artworks that render cinema as a material object, this book unfolds a complex relationship between a theory and a practice that have often been seen as virtually incompatible, heightening our understanding of each and, more pertinently, their interactions.
As the cinematic experience becomes subsumed into ubiquitous technologies of seeing, contemporary artworks lift the cinematic from the immateriality of the film screen, separating it into its physical components within the gallery space. How do film theorists read these reformulations of the cinematic medium and their critique of what it is and has been? Theorizing Cinema through Contemporary Art: Expanding Cinema considers artworks that incorporate, restage, and re-present cinema's configurations of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, thereby addressing the creation, appraisal, and evolution of film theory as channeled through contemporary art. Taking film theory as a blueprint for the moving image, and juxtaposing it with artworks that render cinema as a material object, this book unfolds a complex relationship between a theory and a practice that have often been seen as virtually incompatible, heightening our understanding of each and, more pertinently, their interactions.
Once at the margins of the art world, film now occupies a prominent place in museums and galleries. Exhibiting Cinema in Contemporary Art explores the emergence of cinema as a primary medium of artistic production, offering an in-depth inquiry into its genesis, its defining features, and its ramifications. Erika Balsom also tackles cinema studies' great disciplinary obsession--namely, what cinema was, is, and will become in a digital future. Rich in theoretical reflections and critical analyses, Exhibiting Cinema in Contemporary Art offers insights into the whole history of cinema from the vantage point of today's art.
This volume re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined ‘extreme cinema’. In Genre Trouble and Extreme Cinema, Bordun argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand generic classifications. Bordun contends that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them in both personal and experiential terms. The author deploys contemporary film theories on the senses, both phenomenological and affect theory, and partakes in close readings of the films’ forms and narratives. The book thus adds to the present literature on extreme cinema and film theory, yet sets itself apart by fully deploying genre theory alongside the methodological and stylistic approaches of Stanley Cavell, Vivian Sobchack, Laura U. Marks, and Eugenie Brinkema.
Reality has become an increasingly prominent topic in contemporary philosophy. The book’s contributors are responding to the challenge to use the philosophically underexplored potential of film to disclose what the editors propose to call “the real of reality.”
Outgrowth of a panel discussion at the 2013 conference of the College Art Association in New York.
Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary art The only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space, representation, and narrative The text has emerged out of the author’s own lectures and seminars on video art Offers a comparative approach which students find especially useful, offering new perspectives
What is the significance of gendered identification in relation to artists' moving image? How do women artists grapple with the interlinked narratives of gender discrimination and gender identity in their work? In this groundbreaking book, a diverse range of leading scholars, activists, archivists and artists explore the histories, practices and concerns of women making film and video across the world, from the pioneering German animator Lotte Reiniger, to the influential African American filmmaker Julie Dash and the provocative Scottish contemporary artist Rachel Maclean. Opening with a foreword from the film theorist Laura Mulvey and a poem by the artist film-maker Lis Rhodes, Women Artists, Feminism and the Moving Image traces the legacies of early feminist interventions into the moving image and the ways in which these have been re-configured in the very different context of today. Reflecting and building upon the practices of recuperation that continue to play a vital role in feminist art practice and scholarship, essays discuss topics such as how multiculturalism is linked to experimental and activist film history, the function and nature of the essay film, feminist curatorial practices and much more. This book transports the reader across diverse cultural contexts and geographical contours, addressing complex narratives of subjectivity, representation and labour, while juxtaposing cultures of film, video and visual arts practice often held apart. As the editor, Lucy Reynolds, argues: it is at the point where art, moving image and feminist discourse converge that a rich and dynamic intersection of dialogue and exchange opens up, bringing to attention practices which might fall outside their separate spheres, and offering fresh perspectives and insights on those already established in its histories and canons.
Theatricality and the Arts presents a series of investigations of the notion of 'theatricality'. Primarily, theatricality concerns that which pertains to theatre, but the term has always carried with it the potentially pejorative associations of exaggeration and fakery. The essays here question and contest such associations. The book is divided into four sections which together provide a comprehensive interrogation of theatricality. The four sections begin with multimedia, where theatricality is examined in relation to mixed modes of media (internet art, painting, performance and digital display). A second section takes a philosophical approach to questions of theatricality. A third section looks at art, broadly speaking, but also at the historical contexts of art, photography and other media (literature, film, music). A final section features reflections on theatre and cinema, often in conjunction. Considered as a whole, the collection contributes to debates on theatricality in various fields, while also enabling a cross-examination of approaches to the topic.
This collection of essays demonstrates the usefulness of looking at cinema with the analytical methods provided by art theory. "The Visual Turn" is a dialogue between art historians and film theorists from the silent period to the aftermath of World War II.