Des O'Rawe
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780719099663
- eISBN:
- 9781526104137
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099663.001.0001
- Subject:
- Film, Television and Radio, Film
Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, ...
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Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, especially: animation, assemblage, photography, painting, and architecture. In particular, it examines how documentary practices have often incorporated methods and expressive techniques derived from these art forms. Combining close analysis with cultural history, the book re-assesses the influence of the modern visual arts in subverting the structures of realism typically associated with documentary film, and considers the work of figures whose preferred film language is associative, and fragmentary, and for whom the documentary remains an open form, an unstable expressive phenomenon that at its best interrogates its own narratives, and intentions. In the course of its discussion, the book charts a path that leads from Len Lye to Hiroshi Teshigahara, and includes along the way figures such as Joseph Cornell, Johan van der Keuken, William Klein, Jean-Luc Godard, Jonas Mekas, Raymond Depardon.Less
Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, especially: animation, assemblage, photography, painting, and architecture. In particular, it examines how documentary practices have often incorporated methods and expressive techniques derived from these art forms. Combining close analysis with cultural history, the book re-assesses the influence of the modern visual arts in subverting the structures of realism typically associated with documentary film, and considers the work of figures whose preferred film language is associative, and fragmentary, and for whom the documentary remains an open form, an unstable expressive phenomenon that at its best interrogates its own narratives, and intentions. In the course of its discussion, the book charts a path that leads from Len Lye to Hiroshi Teshigahara, and includes along the way figures such as Joseph Cornell, Johan van der Keuken, William Klein, Jean-Luc Godard, Jonas Mekas, Raymond Depardon.
Erin Brannigan
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195367232
- eISBN:
- 9780199894178
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195367232.003.0006
- Subject:
- Music, Dance
In choreography where the moment between phrases is highlighted, sustained, and dispersed (instead of being reduced to the status of “transition” between ideal movements and forms), anarchic phrasing ...
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In choreography where the moment between phrases is highlighted, sustained, and dispersed (instead of being reduced to the status of “transition” between ideal movements and forms), anarchic phrasing results. Such phrasing can be found in postmodern dance practices as well as social and ritual dance and challenges both the habits of human perception and the process of cinematic registration. In dancefilm, these performances present problems of visibility/legibility to the filmmaker that are often negotiated through the use of special effects that manipulate the action in space and time such as slow‐motion, multiple‐exposure, repetition, reverse‐motion, and digital postproduction techniques such as image “scratching.” The resulting films enact a dialogue between dance and film, negotiating the most challenging aspects of each discipline to create new forms of choreographic practice that belong solely to the screen arts. This chapter begins with Babette Mangolte's film of Trisha Brown's Watermotor as an exemplary model of cine‐choreography resulting from the filmic registration of challenging dancerly movement. The writings of choreographer and filmmaker Yvonne Rainer, along with French dance theorists Hubert Godard and Laurence Louppe, provide a way to think through the special quality of the profilmic material in such films and the types of cinematic movements that result.Less
In choreography where the moment between phrases is highlighted, sustained, and dispersed (instead of being reduced to the status of “transition” between ideal movements and forms), anarchic phrasing results. Such phrasing can be found in postmodern dance practices as well as social and ritual dance and challenges both the habits of human perception and the process of cinematic registration. In dancefilm, these performances present problems of visibility/legibility to the filmmaker that are often negotiated through the use of special effects that manipulate the action in space and time such as slow‐motion, multiple‐exposure, repetition, reverse‐motion, and digital postproduction techniques such as image “scratching.” The resulting films enact a dialogue between dance and film, negotiating the most challenging aspects of each discipline to create new forms of choreographic practice that belong solely to the screen arts. This chapter begins with Babette Mangolte's film of Trisha Brown's Watermotor as an exemplary model of cine‐choreography resulting from the filmic registration of challenging dancerly movement. The writings of choreographer and filmmaker Yvonne Rainer, along with French dance theorists Hubert Godard and Laurence Louppe, provide a way to think through the special quality of the profilmic material in such films and the types of cinematic movements that result.
Erika Balsom
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231176934
- eISBN:
- 9780231543125
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231176934.001.0001
- Subject:
- Film, Television and Radio, Film
Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities ...
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Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity—or both at once. From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.Less
Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity—or both at once. From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.
Tarek Elhaik
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781474403351
- eISBN:
- 9781474418508
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403351.001.0001
- Subject:
- Film, Television and Radio, Film
From the 1990s onwards the ‘ethnographic turn in contemporary art’ has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and ...
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From the 1990s onwards the ‘ethnographic turn in contemporary art’ has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists. Based on two years of participant-observation in Mexico City, this book addresses this lacuna by examining the concept-work of curatorial platforms and media artists. Prompted by the ongoing critiques of Mexicanist aesthetics, and what Roger Bartra calls ‘the post-Mexican condition’, the book conceptualises curation less as an exhibition-oriented practice within a national culture, than as a figure of care and an image of thought animating a complex assemblage of inter-medial practices, from experimental cinema and installations to curatorial collaborations. Drawing on Gilles Deleuze and Paul Rabinow, the book introduces the concept of the ‘incurable-image’, an antidote to our curatorial malaise and the ethical substance for a post-social anthropology of images.Less
From the 1990s onwards the ‘ethnographic turn in contemporary art’ has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists. Based on two years of participant-observation in Mexico City, this book addresses this lacuna by examining the concept-work of curatorial platforms and media artists. Prompted by the ongoing critiques of Mexicanist aesthetics, and what Roger Bartra calls ‘the post-Mexican condition’, the book conceptualises curation less as an exhibition-oriented practice within a national culture, than as a figure of care and an image of thought animating a complex assemblage of inter-medial practices, from experimental cinema and installations to curatorial collaborations. Drawing on Gilles Deleuze and Paul Rabinow, the book introduces the concept of the ‘incurable-image’, an antidote to our curatorial malaise and the ethical substance for a post-social anthropology of images.
Gary D. Rhodes and Robert Singer
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474460682
- eISBN:
- 9781474481083
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474460682.003.0007
- Subject:
- Film, Television and Radio, Film
Chapter 6 covers sound, offering discussions of how the television commercial has revived, fostered, and revitalized the musical and the silent film genres, integrating sound and image in ...
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Chapter 6 covers sound, offering discussions of how the television commercial has revived, fostered, and revitalized the musical and the silent film genres, integrating sound and image in particularized respects that are markedly different than most Hollywood feature films of the late 20th and early 21st centuries. The chapter also addresses the TV the experimental, intertextual commercial that dates to the 1960s, the disruption of aural teleology in the 21st century, and the unique (even if legally obligatory) forms of audio/visual dissonance in which beautiful images unfold while voiceover explains the dire side effects of given pharmaceuticals.Less
Chapter 6 covers sound, offering discussions of how the television commercial has revived, fostered, and revitalized the musical and the silent film genres, integrating sound and image in particularized respects that are markedly different than most Hollywood feature films of the late 20th and early 21st centuries. The chapter also addresses the TV the experimental, intertextual commercial that dates to the 1960s, the disruption of aural teleology in the 21st century, and the unique (even if legally obligatory) forms of audio/visual dissonance in which beautiful images unfold while voiceover explains the dire side effects of given pharmaceuticals.
Miguel Fernández Labayen and Vicente Rodríguez Ortega
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199949311
- eISBN:
- 9780199364749
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199949311.003.0007
- Subject:
- Music, Popular, History, American
This chapter provides a historical overview of audiovisual sampling in Spain, concentrating on the contemporary works of amateur filmmaker David Domingo and visual artist Marìa Cañas. First, it ...
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This chapter provides a historical overview of audiovisual sampling in Spain, concentrating on the contemporary works of amateur filmmaker David Domingo and visual artist Marìa Cañas. First, it provides a theoretical and historical survey of sampling within Spanish culture from the 1970s (the end of Franco’s dictatorship) to the present. Second, it interrogates its legitimacy and adequacy to articulate a detailed discourse about Spanish cultural history. The chapter maneuvers through the Spanish subcultural and avant-garde detritus to build an alternative history of cultural legacy that emphasizes the practice of sampling. Finally, it juxtaposes Domingo’s wide range of analogue sampling practices—from Super 8 films to live performances—with Marìa Cañas’s output, a cannibalistic approach to audiovisual culture through digitization.Less
This chapter provides a historical overview of audiovisual sampling in Spain, concentrating on the contemporary works of amateur filmmaker David Domingo and visual artist Marìa Cañas. First, it provides a theoretical and historical survey of sampling within Spanish culture from the 1970s (the end of Franco’s dictatorship) to the present. Second, it interrogates its legitimacy and adequacy to articulate a detailed discourse about Spanish cultural history. The chapter maneuvers through the Spanish subcultural and avant-garde detritus to build an alternative history of cultural legacy that emphasizes the practice of sampling. Finally, it juxtaposes Domingo’s wide range of analogue sampling practices—from Super 8 films to live performances—with Marìa Cañas’s output, a cannibalistic approach to audiovisual culture through digitization.
Gary D. Rhodes and Robert Singer
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474460682
- eISBN:
- 9781474481083
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474460682.003.0006
- Subject:
- Film, Television and Radio, Film
Chapter 5 covers editing, paying particular attention on Average Shot Lengths (ASLs) and the influential role that the TV commercial has played in how they have decreased in Hollywood feature ...
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Chapter 5 covers editing, paying particular attention on Average Shot Lengths (ASLs) and the influential role that the TV commercial has played in how they have decreased in Hollywood feature filmmaking. This chapter also explores the ways in which the TV commercial has approached cutting on camera movement, or, in not using any editing, letting a single image remain onscreen for the entire running time, a practice associated with 19th century cinema and reinvigorated for product sales. The chapter also examines the TV commercial’s ability to eschew standard Hollywood editing practices, opting for decidedly non-classical approaches, as in the exclusive use of close-ups to tell a story.Less
Chapter 5 covers editing, paying particular attention on Average Shot Lengths (ASLs) and the influential role that the TV commercial has played in how they have decreased in Hollywood feature filmmaking. This chapter also explores the ways in which the TV commercial has approached cutting on camera movement, or, in not using any editing, letting a single image remain onscreen for the entire running time, a practice associated with 19th century cinema and reinvigorated for product sales. The chapter also examines the TV commercial’s ability to eschew standard Hollywood editing practices, opting for decidedly non-classical approaches, as in the exclusive use of close-ups to tell a story.