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Cinematic Intermediality: Theory and Practice (Edinburgh Studies in Film and ...

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ISBN
9781474446341
Kategorie

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Product Identifiers

Publisher
Oxford University Press, Incorporated
ISBN-10
1474446345
ISBN-13
9781474446341
eBay Product ID (ePID)
13050397847

Product Key Features

Number of Pages
224 Pages
Publication Name
Cinematic Intermediality : Theory and Practice
Language
English
Publication Year
2021
Subject
Film / General
Type
Textbook
Author
Marion Schmid
Subject Area
Performing Arts
Format
Hardcover

Dimensions

Item Height
0.1 in
Item Weight
0.1 Oz
Item Length
0.1 in
Item Width
0.1 in

Additional Product Features

Intended Audience
Scholarly & Professional
Dewey Edition
23
Reviews
This book adds significantly to our understanding of the histories, theories, and practices of cinematic intermediality. It includes exquisite explorations of filmic works, and offers a space for filmmakers to describe their intermedial engagements and fascinations. At a moment where the definition of film is in transformation, this volume of essays reminds us that the ontology of film has always been in mutually productive conversation with other art forms, enriching and being enriched by that which both solidifies and sets into movement its medium specificity., Together, these chapters succeed in updating the field of artistic intermediality on several fronts, pertinently adding to the ongoing theoretical debate and the empirical case studies available. This is undeniably a must-read book for that reason alone. [...] a fundamental overview of cinema's performative dimension.
Illustrated
Yes
Dewey Decimal
791.43
Table Of Content
List of Illustrations Acknowledgements Contributors Introduction - Kim Knowles and Marion Schmid PART 1: MAPPING THE INTERZONE 1. 'Film and Performance: Intermedial Intersections' - Stephen Barber 2. 'Carving Cameras: Antonioni's Lo Sguardo di Michelangelo (2004)' - Steven Jacobs 3. 'The Photo-Filmic and the Post-Human: Picturesque Landscapes at the Peripheries of Global Cinema' - Ágnes Petho 4. 'Dream Screen:On Cinema and Painting, Blur and Absorption' - Martine Beugnet PART 2: THE INTERMEDIAL AVANT-GARDES 5. 'From the Periphery to the Interstices: Avant-Garde Film, Medium Specificity and Intermediality, 1970-2015' - Christopher Townsend 6. The 'Artist as Filmmaker': Modernisms, Schisms, Misunderstandings' - Lucy Reynolds 7. 'The Artwork/Statement as Intermedial Nexus: Paul Sharits's N:O:T:H:I:N:G ' - Barnaby Dicker PART 3: TECHNOLOGY, APPARATUS, AFFECT 8. 'Intermediality and the Origins of Cinema' - Boris Wiseman 9. 'Cinematography's Blind Spots: Artistic Exploitations of the Film Frame' - Gabriele Jutz 10. 'Filming and Feeling between the Arts: Pascale Breton, Suite Armoricaine and Eugène Green, Le Fils de Joseph ' - Marion Schmid PART 4: INTERMEDIAL CREATION 11. 'What Does a Dance Filmmaker See?' - Adam Roberts 12. 'Performance, Moving Image, Installation: the Making of Body of War and Faith ' - Isabel Rocamora 13. 'Muybridge's Disobedient Horses: Non-Stop Stop-Motion ' - Anna Vasof 14. 'A Dialogue With Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror ' - Sarah Pucill Index
Synopsis
This edited collection proposes new directions for understanding cinematic intermediality, mapping out innovative approaches to film's relationship with some of its most influential artistic predecessors in the fields of performance, sculpture, painting, photography and dance. With essays by leading researchers and practitioners, this book investigates cinema's productive synergies and crossovers with the other arts through a broad range of avant-garde and experimental work. Mapping a trajectory from pre-cinema to the digital era, the book considers the impact of technological materiality on intermedial expression, incorporating both mainstream and experimental practice, world cinema and peripheral cinemas. Bridging the gap between theory and practice, it opens up new pathways for thinking about how intermediality, as both a creative method and an interpretative paradigm, might be explored alongside probing questions of what cinema is, has been and can be., As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.
LC Classification Number
PN1995

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