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 Online-Ressource
Titel:Cinematic intermediality
Titelzusatz:theory and practice
Mitwirkende:Knowles, Kim [HerausgeberIn]   i
 Schmid, Marion [HerausgeberIn]   i
Verf.angabe:edited by Kim Knowles and Marion Schmid
Verlagsort:Edinburgh
Verlag:Edinburgh University Press
E-Jahr:2021
Jahr:[2021]
Umfang:1 Online-Ressource (xv, 206 Seiten)
Gesamttitel/Reihe:Edinburgh Studies in Film and Intermediality
Fussnoten:Literaturangaben
Schrift/Sprache:In English
Ang. zum Inhalt:Frontmatter
 Contents
 List of Figures
 Acknowledgements
 The Contributors
 Introduction
 Part 1 Mapping the Interzone
 1 Film and Performance: Intermedial Intersections
 2 Carving Cameras: Antonioni’s Lo Sguardo di Michelangelo
 3 The Photo-filmic and the Post-human: Picturesque Landscapes at the Peripheries of Global Cinema
 4 Dream Screen: On Cinema and Painting, Blur and Absorption
 Part 2 The Intermedial Avant-gardes
 5 From the Periphery to the Interstices: Avant-garde Film, Medium Specificity and Intermediality, 1970–2015
 6 The ‘Artist as Filmmaker’: Modernisms, Schisms, Misunderstandings
 7 The Artwork/Statement as Intermedial Nexus: Paul Sharits’s N:O:T:H:I:N:G
 Part 3 Technology, Apparatus, Affect
 8 Intermediality and the Origins of Cinema
 9 Cinematography’s Blind Spots: Artistic Exploitations of the Film Frame
 10 Filming and Feeling between the Arts: Pascale Breton, Suite armoricaine and Eugène Green, Le Fils de Joseph
 Part 4 Intermedial Creation
 11 What Does a Dance Filmmaker See?
 12 Performance, Moving Image, Installation: The Making of Body of War and Faith
 13 Muybridge’s Disobedient Horses: Non-stop Stop-motion
 14 A Dialogue with Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror
 Index
ISBN:978-1-4744-4636-5
Abstract:Outlines an innovative agenda for understanding film’s interaction with other art formsOpens up new critical perspectives for understanding the role of intermediality in moving image creationBroadens the traditional horizon of film studies, challenging mono-medial conceptions of filmOffers a broad and inclusive view of cinematic intermediality, with a special emphasis on understudied avant-garde and experimental practiceAs 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
DOI:doi:10.1515/9781474446365
URL:kostenfrei: Verlag: https://www.degruyter.com/isbn/9781474446365
 kostenfrei: Resolving-System: https://doi.org/10.1515/9781474446365
 Cover: https://www.degruyter.com/document/cover/isbn/9781474446365/original
 DOI: https://doi.org/10.1515/9781474446365
Schlagwörter:(s)Film   i / (s)Intermedialität   i
Datenträger:Online-Ressource
Sprache:eng
Bibliogr. Hinweis:Erscheint auch als : print
Sach-SW:Film, Media & Cultural Studies
 PERFORMING ARTS / Film & Video / General
K10plus-PPN:1798071592
 
 
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