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308 books about Film & Video and 24
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308 books about Film & Video and 24
308 books about Film & Video
24 start with S start with S
24 start with S start with S
Scenes of Projection
Recasting the Enlightenment Subject
Jill H. Casid
University of Minnesota Press, 2015
Theorizing vision and power at the intersections of the histories of psychoanalysis, media, scientific method, and colonization, Scenes of Projection poaches the prized instruments at the heart of the so-called scientific revolution: the projecting telescope, camera obscura, magic lantern, solar microscope, and prism. From the beginnings of what is retrospectively enshrined as the origins of the Enlightenment and in the wake of colonization, the scene of projection has functioned as a contraption for creating a fantasy subject of discarnate vision for the exercise of “reason.”
Jill H. Casid demonstrates across a range of sites that the scene of projection is neither a static diagram of power nor a fixed architecture but rather a pedagogical setup that operates as an influencing machine of persistent training. Thinking with queer and feminist art projects that take up old devices for casting an image to reorient this apparatus of power that produces its subject, Scenes of Projection offers a set of theses on the possibilities for felt embodiment out of the damaged and difficult pasts that haunt our present.
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Screen Space Reconfigured
Susanne Saether
Amsterdam University Press, 2020
Screen Space Reconfigured is the first edited volume that critically and theoretically examines the many novel renderings of space brought to us by 21st century screens. Exploring key cases such as post-perspectival space, 3D, vertical framing, haptics, and layering, this volume takes stock of emerging forms of screen space and spatialities as they move from the margins to the centre of contemporary media practice.Recent years have seen a marked scholarly interest in spatial dimensions and conceptions of moving image culture, with some theorists claiming that a 'spatial turn' has taken place in media studies and screen practices alike. Yet this is the first book-length study dedicated to on-screen spatiality as such.Spanning mainstream cinema, experimental film, video art, mobile screens, and stadium entertainment, the volume includes contributions from such acclaimed authors as Giuliana Bruno and Tom Gunning as well as a younger generation of scholars.
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Screen Time
Photography and Video Art in the Internet Age
Richard Rinehart
Bucknell University Press, 2022
Published on the occasion of the art exhibition Screen Time: Photography and Video Art in the Internet Age, this catalog features a selection of leading international artists who engage with and critique the role of media in contemporary society. Their work demonstrates what has become known as post-internet artistic practices—art that may or may not be made for the internet but nevertheless acknowledges online culture as an omnipresent influence, inseparable from contemporary social conditions. They ask what it means to be a photographer when everyone is an Instagram influencer; what it means to make video art when everyone is a TikTok video star; and how to deliver meaningful social commentary in the age of the meme. The exhibition and accompanying catalog showcase artwork by N. Dash, Nathalie Djurberg, Marcel Dzama, Peter Funch, Cyrus Kabiru, William Kentridge, Christian Marclay, Marilyn Minter, Vik Muniz, Otobong Nkanga, Erwin Olaf, Robin Rhode, Vee Speers, Mary Sue, Puck Verkade, Huang Yan.
Published by Bucknell University Press for the Samek Art Museum.
Distributed worldwide by Rutgers University Press.
Published by Bucknell University Press for the Samek Art Museum.
Distributed worldwide by Rutgers University Press.
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Screening the Art World
Temenuga Trifonova
Amsterdam University Press, 2022
Unlike most studies of the relationship between cinema and art, which privilege questions of medium or institutional specificity and intermediality, Screening the Art World explores the ways in which artists and the art world more generally have been represented in cinema. Contributors address a rarely explored subject -art in cinema, rather than the art of cinema - by considering films across genres, historical periods and national cinemas in order to reflect on cinema’s fluctuating imaginary of ‘art’ and ‘the art world’. The book examines the intersection of art history with history in cinema, cinema’s simultaneous affirmation and denigration of the idea of art as ‘truth’ and what this means for cinema’s understanding of itself, the dominant, often contradictory ways in which artists have been represented on screen, and cinematic representations of the art world’s tenuous position between commercial good and cultural capital.
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Screens
Edited by Dominique Chateau and José Moure
Amsterdam University Press, 2016
We live in an era of screens. No longer just the place where we view movies, or watch TV at night, screens are now ubiquitous, the source of the majority of information we consume daily, and a crucial component of our basic interactions with colleagues, friends, and family. This transformation has happened almost without us realizing it-and certainly without the full theoretical and intellectual analysis it deserves.Screens brings together scholars from a variety of disciplines to analyse the growing presence and place of screens in our lives today. They tackle such topics as the archaeology of screens, film and media theories about our interactions with them, their use in contemporary art, and the new avenues they open up for showing films and other media in non-traditional venues.
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Screens
Viewing Media Installation Art
Kate Mondloch
University of Minnesota Press, 2010
Media screens—film, video, and computer screens—have increasingly pervaded both artistic production and everyday life since the 1960s. Yet the nature of viewing artworks made from these media, along with their subjective effects, remains largely unexplored. Screens addresses this gap, offering a historical and theoretical framework for understanding screen-reliant installation art and the spectatorship it evokes.
Examining a range of installations created over the past fifty years that investigate the rich terrain between the sculptural and the cinematic, including works by artists such as Eija-Liisa Ahtila, Doug Aitken, Peter Campus, Dan Graham, VALIE EXPORT, Bruce Nauman, and Michael Snow, Kate Mondloch traces the construction of screen spectatorship in art from the seminal film and video installations of the 1960s and 1970s to the new media artworks of today’s digital culture.
Mondloch identifies a momentous shift in contemporary art that challenges key premises of spectatorship brought about by technological objects that literally and metaphorically filter the subject’s field of vision. As a result she proposes that contemporary viewers are, quite literally, screen subjects and offers the unique critical leverage of art as an alternative way to understand media culture and contemporary visuality.
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The Sensible Stage
Staging and the Moving Image
Edited by Bridget Crone
Intellect Books, 2017
Exploring the use of live performance and the moving image in contemporary art practice, The Sensible Stage brings together essays that examine how elements from theater and cinema are integrated into art, often in order to question the boundaries and mediations between the body and the image. Opening with a discussion between prominent philosopher Alain Badiou and Elie During, this book offers a unique mixture of theoretical, creative, and discursive reflections on the meeting of stage and screen.
This revised and expanded edition includes two new chapters that offer an updated look at how these ideas continue to develop in contemporary art practice.
This revised and expanded edition includes two new chapters that offer an updated look at how these ideas continue to develop in contemporary art practice.
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Sergei M. Eisenstein
Notes for a General History of Cinema
Edited by Naum Kleiman and Antonio Somaini
Amsterdam University Press, 2015
One of the iconic figures of the twentieth-century cinema, Sergei Eisenstein is best known as the director of The Battleship Potemkin, Alexander Nevskii and Ivan the Terrible. His craft as director and film editor left a distinct mark on such key figures of the Western cinema as Nicolas Roeg, Francis Ford Coppola, Sam Peckinpah and Akiro Kurosawa.This comprehensive volume of Eisenstein’s writings is the first-ever English-language edition of his newly discovered notes for a general history of the cinema, a project he undertook in 1946-47 before his death in 1948. In his writings, Eisenstein presents the main coordinates of a history of the cinema without mentioning specific directors or films: what we find instead is a vast genealogy of all the media and of all the art forms that have preceded cinema’s birth and accompanied the first decades of its history, exploring the same expressive possibilities that cinema has explored and responding to the same, deeply rooted, “urges” cinema has responded to. Cinema appears here as the heir of a very long tradition that includes death masks, ritual processions, wax museums, diorama and panorama, and as a medium in constant transformation, that far from being locked in a stable form continues to redefine itself.The texts by Eisenstein are accompanied by a series of critical essays written by some of the world’s most qualified Eisenstein scholars.
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Sergei Paradjanov
Shadows of Forgotten Ancestors
Joshua First
Intellect Books, 2016
Released in 1965, Sergei Paradjanov’s Shadows of Forgotten Ancestors is a landmark of Soviet-era cinema—yet, because its emphasis on folklore and mysticism in traditional Carpathian Hutsul culture broke with Soviet realism, it caused Paradjanov to be blacklisted soon after its release.
This book is the first full-length companion to the film. In addition to a synopsis of the plot and a close analysis of the many levels of symbolism in the film, it offers a history of the film’s legendarily troubled production process (which included Paradjanov challenging a cinematographer to a duel). The book closes with an account of the film’s reception by critics, ordinary viewers, and Soviet officials, and the numerous controversies that have kept it a subject of heated debate for decades. An essential companion to a fascinating, complicated work of cinema art, this book will be invaluable to students, scholars, and regular film buffs alike.
This book is the first full-length companion to the film. In addition to a synopsis of the plot and a close analysis of the many levels of symbolism in the film, it offers a history of the film’s legendarily troubled production process (which included Paradjanov challenging a cinematographer to a duel). The book closes with an account of the film’s reception by critics, ordinary viewers, and Soviet officials, and the numerous controversies that have kept it a subject of heated debate for decades. An essential companion to a fascinating, complicated work of cinema art, this book will be invaluable to students, scholars, and regular film buffs alike.
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Shooting Women
Behind the Camera, Around the World
Harriet Margolis, Alexis Krasilovsky and Julia Stein
Intellect Books, 2015
Shooting Women takes readers around the world to explore the lives of camerawomen working in features, TV news, and documentaries. From first-world pioneers like African American camerawoman Jessie Maple Patton—who got her job only after suing the union—to China’s first camerawomen who traveled with Mao, to rural India where poor women have learned camerawork as a means of empowerment, Shooting Women reveals a world of women working with courage and skill in what has long been seen as a male field.
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Soul of the Documentary
Framing, Expression, Ethics
Ilona Hongisto
Amsterdam University Press, 2015
Soul of the Documentary offers a groundbreaking new approach to documentary cinema. Ilona Hongisto stirs current thinking by suggesting that the work of documentary films is not reducible to representing what already exists. By close-reading a diverse body of films - from The Last Bolshevik to Grey Gardens - Hongisto shows how documentary cinema intervenes in the real by framing it and creatively contributes to its perpetual unfolding. The emphasis on framing brings new urgency to the documentary tradition and its objectives, and provokes significant novel possibilities for thinking about the documentary's ethical and political potentials in the contemporary world.
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Southeast Asia on Screen
From Independence to Financial Crisis (1945-1998)
Gaik Cheng Khoo
Amsterdam University Press, 2020
After the end of World War II when many Southeast Asian nations gained national independence, and up until the Asian Financial Crisis, film industries here had distinctive and colourful histories shaped by unique national and domestic conditions. Southeast Asia on Screen: From Independence to Financial Crisis (1945-1998) addresses the similar themes, histories, trends, technologies and sociopolitical events that have moulded the art and industry of film in this region, identifying the unique characteristics that continue to shape cinema, spectatorship and Southeast Asian filmmaking in the present and the future. Bringing together scholars across the region, chapters explore the conditions that have given rise to today’s burgeoning Southeast Asian cinemas as well as the gaps that manifest as temporal belatedn
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Sovereign Violence
Ethics and South Korean Cinema in the New Millennium
Steve Choe
Amsterdam University Press, 2016
South Korea is home to one of the most vibrant film industries in the world today, producing movies for a strong domestic market that are also drawing the attention of audiences worldwide. This book presents a comprehensive analysis of some of the most well-known and incendiary South Korean films of the millennial decade from nine major directors. Building his analysis on contemporary film theory and philosophy, as well as interviews and other primary sources, Steve Choe makes a case that these often violent films pose urgent ethical dilemmas central to life in the age of neoliberal globalization.
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Spaces of Communication
Elements of Semio-Pragmatics
Roger Odin
Amsterdam University Press, 2022
Semio-pragmatics, an approach to the study of film and audiovisual media first proposed by Roger Odin in the early 1980s, shifted the focus from textual analysis to the interaction of text and context and to the institutional modes of framing and reading which shape the viewer’s engagement with the film. A response to an impasse in post-1968 film semiotics and psychoanalytical approaches to film spectatorship, semio-pragmatics contributed significantly to the further development of film studies alongside Cultural Studies, neo-formalism, historical reception studies and the phenomenology of film.
Spaces of Communication offers a concise introduction to semio-pragmatics and condenses the intellectual trajectory of one of the foundational figures of film studies into a relatively short and accessible volume. It is a book which testifies to the author’s deep and rich intellectual engagement with a vast array of objects ranging from the classics of
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Spanish Cinema of the New Millennium
And the Winner Is...
Thomas G. Deveny
Intellect Books, 2019
Spanish Cinema of the New Millennium provides a new approach to the study of contemporary Spanish cinema between 2000 and 2015 through the analysis of films that represent both "high" culture and "popular" culture. The two film cultures are represented by Goya Award–winning films and box-office successes. Thomas G. Deveny's examination of the country's most important films in this 16-year period provides a rigorous academic analysis of contemporary Spain's film industry, identity, and culture.
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Special Effects and German Silent Film
Techno-Romantic Cinema
Katharina Loew
Amsterdam University Press, 2021
In recent decades, special effects have become a major new area of research in cinema studies. For the most part, they have been examined as spectacles or practical tools. In contrast, Special Effects and German Silent Film, foregrounds their function as an expressive device and their pivotal role in cinema's emergence as a full-fledged art. Special effects not only shaped the look of iconic films like Nosferatu (1922) or Metropolis (1927), but they are central to a comprehensive understanding of German silent film culture writ large. This book examines special effects as the embodiment of a "techno-romantic" paradigm that seeks to harness technology-the epitome of modern materialism-as a means for accessing a spiritual realm. Employed to visualize ideas and emotions in a medium-specific way, special effects thus paved the way for film art.
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Special Effects on the Screen
Faking the View from Méliès to Motion Capture
Martin Lefebvre
Amsterdam University Press, 2022
Since the very first days of cinema, audiences have marveled at the special effects imagery presented on movie screens. While long relegated to the margins of film studies, special effects have recently become the object of a burgeoning field of scholarship. With the emergence of a digital cinema, and the development of computerized visual effects, film theorists and historians have been reconsidering the traditional accounts of cinematic representation, recognising the important role of special effects. Understood as a constituent part of the cinema, special effects are a major technical but also aesthetic component of filmmaking and an important part of the experience for the audience. In this volume, new directions are charted for the exploration of this indispensable aspect of the cinematic experience. Each of the essays in this collection offers new insight into the theoretical and historical study of special effects. The contributors address the many aspects of special effects, from a variety of perspectives, considering them as a conceptual problem, recounting the history of specific special effects techniques, and analysing notable effects films.
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Speculative Blackness
The Future of Race in Science Fiction
André M. Carrington
University of Minnesota Press, 2016
In Speculative Blackness, André M. Carrington analyzes the highly racialized genre of speculative fiction—including science fiction, fantasy, and utopian works, along with their fan cultures—to illustrate the relationship between genre conventions in media and the meanings ascribed to blackness in the popular imagination.
Carrington’s argument about authorship, fandom, and race in a genre that has been both marginalized and celebrated offers a black perspective on iconic works of science fiction. He examines the career of actor Nichelle Nichols, who portrayed the character Uhura in the original Star Trek television series and later became a recruiter for NASA, and the spin-off series Star Trek: Deep Space Nine, set on a space station commanded by a black captain. He recovers a pivotal but overlooked moment in 1950s science fiction fandom in which readers and writers of fanzines confronted issues of race by dealing with a fictitious black fan writer and questioning the relevance of race to his ostensible contributions to the 'zines. Carrington mines the productions of Marvel comics and the black-owned comics publisher Milestone Media, particularly the representations of black sexuality in its flagship title, Icon. He also interrogates online fan fiction about black British women in Buffy the Vampire Slayer and the Harry Potter series.
Throughout this nuanced analysis, Carrington theorizes the relationship between race and genre in cultural production, revealing new understandings of the significance of blackness in twentieth-century American literature and culture.
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Stephen King on the Small Screen
Mark Browning
Intellect Books, 2011
In this follow up to Stephen King on the Big Screen, Mark Browning turns his critical eye to the much-neglected subject of the best-selling author’s work in television, examining what it is about King’s fiction that makes it particularly suitable for the small screen.
By focusing on this body of work, from the highly successful The Stand and The Night Flier to the lesser-known TV films Storm of the Century, Rose Red, Kingdom Hospital, and the 2004 remake of Salem’s Lot, Browning is able to articulate how these adaptations work and, in turn, suggest new ways of viewing them. This book is the first written by a film specialist to consider King’s television work in its own right, and it rejects previous attempts to make the films and books fit rigid thematic categories. Browning examines what makes a written or visual text successful at evoking fear on a case-by-case basis, in a highly readable and engaging way. He also considers the relationship between the big and small screen. Why, for instance, are some TV versions more effective than movie adaptations and vice versa? In the process, Stephen King on the Small Screen is able to shed new light on what it is that makes King’s novels so successful and reveal the elements of style and approach that have helped make King one of the world’s best-selling authors.
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Stories
Screen Narrative in the Digital Era
Edited by Ian Christie and Annie van der Oever
Amsterdam University Press, 2018
Stories are perceived as central to modern life. Not only in narrative entertainment media, such as television, cinema, theater, but also in social media. Telling/having "a story" is widely deemed essential, in business as well as in social life. Does this mark an intensification of what has always been part of human cultures; or has the realm of "story" expanded to dominate twenty-first century discourse? Addressing stories is an obvious priority for the Key Debates series, and Volume 7, edited by Ian Christie and Annie van den Oever, identifies new phenomena in this field — complex narration, puzzle films, transmedia storytelling — as well as new approaches to understanding these, within narratology and bio-cultural studies. Chapters on such extended television series as Twin Peaks, Game of Thrones and Dickensian explore distinctively new forms of screen storytelling in the digital age.With contributions by Vincent Amiel, Jan Baetens, Dominique Chateau, Ian Christie, John Ellis, Miklós Kiss, Eric de Kuyper, Sandra Laugier, Luke McKernan, José Moure, Roger Odin, Annie van den Oever, Melanie Schiller, Steven Willemsen, Robert Ziegler.
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Studying Film with André Bazin
Blandine Joret
Amsterdam University Press, 2019
The impact of French film critic André Bazin (1918-1958) on the development of film studies, though generally acknowledged, remains contested. A passionate initiator of film culture during his lifetime, his ideas have been challenged, defended and revived throughout his afterlife. Studying Film with André Bazin offers an entirely original interpretation of major concepts from Bazin’s legacy, such as auteur theory, realism, film language and the influence of film on other arts (poetry and painting in particular). By examining mostly unknown and uncollected texts, Blandine Joret explains Bazin’s methodology and adopts it in a contemporary reading, linking his ideas to major philosophical and scientific frameworks as well as more recent media practices such as advertising, CGI, 3D cinema and Virtual Reality. In tune with 21st-century concerns in media culture and film studies, this book addresses a wide readership of film scholars, students and cinephiles.
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Superman
The Movie: The 40th-Anniversary Interviews
Gary Bettinson
Intellect Books, 2018
At a moment when superheroes dominate pop culture, Gary Bettinson takes us back to the first comic book blockbuster. Superman: The Movie – The 40th Anniversary Interviews takes us behind the scenes to reveal the personalities and expertise that went into making this landmark of Hollywood cinema.
Marking forty years since the film’s release, this book presents original interview transcripts with the cast and crew. It serves as a rare insider account of an acclaimed blockbuster that was steeped in controversy throughout production, from its record-breaking budget to conflicts between the director and producers. With refreshing candor, the interviewees cast light on the daily realities on set, as well as on the film’s release and reception. Beginning with the film’s inception and continuing through its runaway success, this book provides valuable insights into the practical logistics and day-to-day realities of mounting a big-budget production, at a time when high-concept Hollywood blockbusters were only just emerging as a genre.
Marking forty years since the film’s release, this book presents original interview transcripts with the cast and crew. It serves as a rare insider account of an acclaimed blockbuster that was steeped in controversy throughout production, from its record-breaking budget to conflicts between the director and producers. With refreshing candor, the interviewees cast light on the daily realities on set, as well as on the film’s release and reception. Beginning with the film’s inception and continuing through its runaway success, this book provides valuable insights into the practical logistics and day-to-day realities of mounting a big-budget production, at a time when high-concept Hollywood blockbusters were only just emerging as a genre.
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The Surrealism Reader
An Anthology of Ideas
Edited by Dawn Ades, Michael Richardson, and Krzysztof Fijalkowski
University of Chicago Press, 2016
One of the most influential cultural movements of the past century, surrealism has been extensively studied within the framework of its contributions to art and literature—but its pivotal role in the development of intellectual ideas, both political and philosophical, has yet to be fully explored. Featuring writings from the 1920s up to the late 1990s, this anthology—the first of its kind in English—finally reveals surrealism’s diverse scope, its deep contributions to the history of ideas, and its profound implications for contemporary thought.
Including essays by leading surrealists and other major writers on the movement, the volume addresses the key themes of identity, otherness, freedom and morality, and poetry. The texts uncover, among other things, the significance of surrealism for the antifascist and anticolonialist movements and the various manifestations of surrealism in the years after World War II. Giving space to the many different voices that made up the movement, and placing them for the first time within a clear and coherent historical framework, The Surrealism Reader radically revises the popular understanding of what, and when, surrealism was—making this book an essential reference for students, scholars, and all those interested in the central place of surrealism within twentieth-century thought and culture.
Including essays by leading surrealists and other major writers on the movement, the volume addresses the key themes of identity, otherness, freedom and morality, and poetry. The texts uncover, among other things, the significance of surrealism for the antifascist and anticolonialist movements and the various manifestations of surrealism in the years after World War II. Giving space to the many different voices that made up the movement, and placing them for the first time within a clear and coherent historical framework, The Surrealism Reader radically revises the popular understanding of what, and when, surrealism was—making this book an essential reference for students, scholars, and all those interested in the central place of surrealism within twentieth-century thought and culture.
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The Swedish Porn Scene
Exhibition Contexts, 8mm Pornography and the Sex Film
Mariah Larsson
Intellect Books, 2016
This book presents a close look at the golden age of Swedish pornography in the 1970s, with a specific focus on pornographic films screened in Malmö between 1971 and 1976. How, Mariah Larsson asks, was that one small city’s embrace of the era’s sexual liberation both representative and unique in relation to the rest of Sweden?
Combining contemporary case studies with comprehensive analyses of advertisements, critical responses, and censorship records, Larsson deconstructs the complexities and paradoxes of the Swedish porn scene. Looking as closely at the exhibition spaces where porn was seen as at the productions themselves and their audiences, Larsson reveals the conditions and social changes that allowed pornography in Sweden to flourish in the period.
Combining contemporary case studies with comprehensive analyses of advertisements, critical responses, and censorship records, Larsson deconstructs the complexities and paradoxes of the Swedish porn scene. Looking as closely at the exhibition spaces where porn was seen as at the productions themselves and their audiences, Larsson reveals the conditions and social changes that allowed pornography in Sweden to flourish in the period.
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