Film, Art, New Media: Museum Without Walls?

Film, Art, New Media: Museum Without Walls? PDF

Author: Angela Dalle Vacche

Publisher: Springer

Published: 2012-06-12

Total Pages: 326

ISBN-13: 1137026138

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In the footsteps of Andre Bazin, this anthology of 15 original essays argues that the photographic origin of twentieth-century cinema is anti-anthropocentric. Well aware that the twentieth century stands out as the only period in history with its own photographic film record for posterity, Angela Dalle Vacche has convened international scholars at The Sterling and Francine Clark Art Institute, and asked them to rethink the history and theory of the cinema as a new model for the museum of the future. By exploring the art historical tropes of face and landscape, and key areas of film studies such as early cinema, Soviet film theory, documentary, the avant-garde and the newly-born genre of the museum film, this collection includes detailed discussions of installation art, and close analyses of media relations which range from dance to painting to performance art. Thanks to the title of Andre Malraux's famous project, Film, Art, New Media: Museum Without Walls? invites readers to reflect on the museum of the future, where twentieth-century cinema will play a pivotal role by interrogating the relation between art and science, technology and nature, from the side of photography in dialogue with digitalization.

Film, Art, New Media: Museum Without Walls?

Film, Art, New Media: Museum Without Walls? PDF

Author: Angela Dalle Vacche

Publisher: Springer

Published: 2012-06-12

Total Pages: 358

ISBN-13: 1137026138

DOWNLOAD EBOOK →

In the footsteps of Andre Bazin, this anthology of 15 original essays argues that the photographic origin of twentieth-century cinema is anti-anthropocentric. Well aware that the twentieth century stands out as the only period in history with its own photographic film record for posterity, Angela Dalle Vacche has convened international scholars at The Sterling and Francine Clark Art Institute, and asked them to rethink the history and theory of the cinema as a new model for the museum of the future. By exploring the art historical tropes of face and landscape, and key areas of film studies such as early cinema, Soviet film theory, documentary, the avant-garde and the newly-born genre of the museum film, this collection includes detailed discussions of installation art, and close analyses of media relations which range from dance to painting to performance art. Thanks to the title of Andre Malraux's famous project, Film, Art, New Media: Museum Without Walls? invites readers to reflect on the museum of the future, where twentieth-century cinema will play a pivotal role by interrogating the relation between art and science, technology and nature, from the side of photography in dialogue with digitalization.

Museum Without Walls

Museum Without Walls PDF

Author: Jonathan Meades

Publisher: Unbound Publishing

Published: 2012-11-13

Total Pages: 556

ISBN-13: 190871719X

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Jonathan Meades has an obsessive preoccupation with places. He has spent thirty years constructing sixty films, two novels and hundreds of pieces of journalism that explore an extraordinary range of them, from natural landscapes to man-made buildings and 'the gaps between them', drawing attention to what he calls 'the rich oddness of what we take for granted'. This book collects fifty-four pieces and six film scripts that dissolve the barriers between high and low culture, good and bad taste, deep seriousness and black comedy. Meades delivers what he calls 'heavy entertainment' – strong opinions backed up by an astonishing depth of knowledge. To read Meades on places, buildings, politics or cultural history is an exhilarating workout for the mind. He leaves you better informed, more alert, less gullible.

The Making of the American Creative Class

The Making of the American Creative Class PDF

Author: Shannan Clark

Publisher: Oxford University Press

Published: 2020-12-01

Total Pages: 583

ISBN-13: 0199912645

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During the middle decades of the twentieth century, the production of America's consumer culture was centralized in midtown Manhattan to an extent unparalleled in the history of the modern United States. Within a few square miles of skyscrapers were the headquarters of networks like NBC and CBS, the editorial offices of book publishers and mass circulation magazines such as Time and Life, numerous influential newspapers, and major advertising agencies on Madison Avenue. Every day tens of thousands of writers, editors, artists, performers, technicians, secretaries, and other white-collar workers made advertisements, produced media content, and enhanced the appearance of goods in order to boost sales. While this center of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labors. In this definitive history, The Making of the American Creative Class examines these workers and their industries throughout the twentieth century. As manufacturers and retailers competed to attract consumers' attention, their advertising expenditures financed the growth of enterprises engaged in the production of culture, which in turn provided employment for an increasing number of clerical, technical, professional, and creative workers. The book explores employees' efforts to improve their working conditions by forming unions, experimenting with alternative media and cultural endeavors supported by public, labor, or cooperative patronage, and expanding their opportunities for creative autonomy. As blacklisting and attacks on militant unions left them destroyed or weakened, workers in advertising, design, publishing, and broadcasting in the late twentieth century were constrained in their ability to respond to economic dislocations and to combat discrimination in the culture industries. At once a portrait of a city and the national culture of consumer capitalism it has produced, The Making of the American Creative Class is an innovative narrative of modern American history that addresses issues of earnings and status still experienced by today's culture workers.

Culture Strike

Culture Strike PDF

Author: Laura Raicovich

Publisher: Verso Books

Published: 2021-12-14

Total Pages: 225

ISBN-13: 1839760524

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A leading activist museum director explains why museums are at the center of a political storm In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.

André Bazin's Film Theory

André Bazin's Film Theory PDF

Author: Angela Dalle Vacche

Publisher:

Published: 2020

Total Pages: 241

ISBN-13: 0190067292

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Through metaphors and allusions to art, science, and religion, Andre Bazin's writings on the cinema explore a simple yet profound question: what is a human? For the famous French film critic, a human is simultaneously a rational animal and an irrational being. Bazin's idea of the cinema is amind-machine where the ethical implications have priority over aesthetic issues. And in its ability to function as an art form for the masses, cinema is the only medium that can address an audience at the individual and community levels simultaneously - the audience sees the same film, but eachindividual relates to the narrative in a different way. In principle, cinema can unsettle our routines in productive ways and expand our sense of belonging to a much larger picture.By arguing that this dissident Catholic's worldview is anti-anthropocentric, Angela Dalle Vacche concludes that Andre Bazin's idea of the cinema recapitulates the histories of biological evolution and modern technology inside our consciousness. Through the projection of recorded traces of the worldonto a brain-like screen, the cinema can open viewers up to self-interrogation and empathy towards Otherness. Bazin was neither a spiritualist nor an animist or a pantheist, yet his film theory leads also to ideas of a more cosmological persuasion: through editing and camera movement, cinemaexplores our belonging to a vast universe that extends from the microbes of the microscope to the stars of the telescope. Such ideas of connectedness, coupled with Bazin's well-known emphasis of realism, form the foundation for his film theory's embrace of Italian neorealism. Choosing to avoid aquantitative naturalism based on accumulation of details, Bazin's theory instead promotes the kind of cinema that celebrates perceptual displacement, the objectification of human behavior, and one's own critical self-awareness.

Regarding the real

Regarding the real PDF

Author: Des O'Rawe

Publisher: Manchester University Press

Published: 2016-01-01

Total Pages: 231

ISBN-13: 1784996076

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Regarding the real develops an original approach to documentary film, focusing on its aesthetic relations to visual arts such as animation, assemblage, photography, painting and architecture. Throughout, the book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form; an unstable expressive phenomenon that cannot help but interrogate its own narratives and intentions. Combining close analysis with cultural history, the book re-assesses the influence of the modern arts in subverting structures of realism typically associated with the documentary. In the course of its discussion, it charts a fascinating 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 and Raymond Depardon.

Art in Cinema

Art in Cinema PDF

Author: Scott MacDonald

Publisher: Temple University Press

Published: 2006

Total Pages: 332

ISBN-13: 9781592134274

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Fascinating documentation of one of the most important film societies in American history.

A Cinema Without Walls

A Cinema Without Walls PDF

Author: Timothy Corrigan

Publisher:

Published: 1992

Total Pages: 258

ISBN-13: 9780415071338

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Drawing on a variety of European and American films, this study examines how films are interpreted in the post-Vietnam, video age. The author shows how cult audiences, narrative structure, genre films (road movies, in particular) and contemporary politics have engaged new models of film-making.

Cinema and Painting

Cinema and Painting PDF

Author: Angela Dalle Vacche

Publisher: University of Texas Press

Published: 1996

Total Pages: 324

ISBN-13: 9780292715837

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The visual image is the common denominator of cinema and painting, and indeed many filmmakers have used the imagery of paintings to shape or enrich the meaning of their films. In this discerning new approach to cinema studies, Angela Dalle Vacche discusses how the use of pictorial sources in film enables eight filmmakers to comment on the interplay between the arts, on the dialectic of word and image, on the relationship between artistic creativity and sexual difference, and on the tension between tradition and modernity. Specifically, Dalle Vacche explores Jean-Luc Godard's iconophobia (Pierrot Le Fou) and Andrei Tarkovsky's iconophilia (Andrei Rubleov), Kenji Mizoguchi's split allegiances between East and West (Five Women around Utamaro), Michelangelo Antonioni's melodramatic sensibility (Red Desert), Eric Rohmer's project to convey interiority through images (The Marquise of O), F. W. Murnau's debt to Romantic landscape painting (Nosferatu), Vincente Minnelli's affinities with American Abstract Expressionism (An American in Paris), and Alain Cavalier's use of still life and the close-up to explore the realms of mysticism and femininity (Thérèse). While addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.