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Indefinite Visions
Moving image culture seems to privilege the instantly identifiable: the recognizable face, the well-timed stunt, the perfectly synchronized line of dialogue. Yet perfect, in-focus visibility does not come 'naturally' to the moving image, and if there is one visual effect the eye of the camera can record better than the human eye it is blur. Looking beyond popular media to works of experimental cinema and video art, this groundbreaking collection addresses the aesthetics and politics of moving images in states of decay, distortion, indistinctness and fragmentation. A range of international scholars examines what is at stake in these images' sometimes radical foregrounding of materiality and mediation, or of evanescence and spectrality, as well as their challenging of the dominant position accorded to 'legible' images. How have artists and filmmakers rendered the 'indefinite' image, and what questions does it pose? With a range of approaches, from aesthetics to phenomenology to production studies, the authors in this volume investigate techniques, themes and concepts that emerge from this wilful excavation of the moving image's material base.
Comics and Adaptation
Contributions by Jan Baetens, Alain Boillat, Philippe Bourdier, Laura Cecilia Caraballo, Thomas Faye, Pierre Floquet, Jean-Paul Gabilliet, Christophe Gelly, Nicolas Labarre, Benoît Mitaine, David Roche, Isabelle Schmitt-Pitiot, Dick Tomasovic, and Shannon Wells-Lassagne Both comics studies and adaptation studies have grown separately over the past twenty years. Yet there are few in-depth studies of comic books and adaptations together. Available for the first time in English, this collection pores over the phenomenon of comic books and adaptation, sifting through comics as both sources and results of adaptation. Essays shed light on the many ways adaptation studies inform research on comic ...
Antonin Artaud and the Healing Practices of Language
The life of Antonin Artaud (1896-1948) was tormented by physical and mental illnesses. Already in his earlier works, Artaud tried to express his physical and mental suffering, but perceived, in describing his feelings, the obstructive and illness-inducing role of language. This is the first book written in English that analyses the role of a healing language with which Artaud engaged in his later writings. Joeri Visser guides us through the years in which Artaud suffered increasingly from mental instability and considered the act of writing his only means of survival. In doing so, Visser unfolds a literary and a philosophical analysis of how language and life work together and how a creative play with language can help us to reengage sustainably with the joyous as well as the terrible forces of life.
Cinepoetry
Cinepoetry analyzes how French poets have remapped poetry through the lens of cinema for more than a century. In showing how poets have drawn on mass culture, technology, and material images to incorporate the idea, technique, and experience of cinema into writing, Wall-Romana documents the long history of cross-media concepts and practices often thought to emerge with the digital. In showing the cinematic consciousness of Mallarmé and Breton and calling for a reappraisal of the influential poetry theory of the early filmmaker Jean Epstein, Cinepoetry reevaluates the bases of literary modernism. The book also explores the crucial link between trauma and trans-medium experiments in the wake of two world wars and highlights the marginal identity of cinepoets who were often Jewish, gay, foreign-born, or on the margins. What results is a broad rethinking of the relationship between film and literature. The episteme of cinema, the book demonstates, reached the very core of its supposedly highbrow rival, while at the same time modern poetry cultivated the technocultural savvy that is found today in slams, e-poetry, and poetic-digital hybrids.
Cinema Beyond Film
Francois Albera is professor of film and cinema studies at UniversitT de Lausanne in Switzerland. Maria Tortajada is professor in the Department of History and Aesthetics of Film at the same university. --Book Jacket.
Techniques of Illusion
This book explores stage conjuring during its “golden age,” from about 1860 to 1910. This study provides close readings highlighting four paradigmatic illusions of the time that stand in for different kinds of illusions typical of stage magic in the “golden age” and analyses them within their cultural and media-historical context: “Pepper’s Ghost,” the archetypical mirror illusion; “The Vanishing Lady,” staging a teleportation in a time of a dizzying acceleration of transport; “the levitation,” simulating weightlessness with the help of an extended steel machinery; and “The Second Sight,” a mind-reading illusion using up-to-date communication technologies. These close readings are completed by writings focusing on visual media and expanding the scope backwards and forwards in time, roughly to 1800 and to 2000. This exploration will be of great interest to students and scholars in theatre and performance studies.
A Companion to Early Cinema
A COMPANION TO EARLY CINEMA “This collection of essays by early cinema scholars from Europe and North America offers manifold perspectives on early cinema fiction which perfectly reflect the state of international research.” – Martin Loiperdinger, Universitaet Trier “A fabulous selection of first-rate articles!” – Rick Altman, University of Iowa “One of the most challenging books in recent film studies: in it, early cinema is both a historical object and a contemporary presence. As in a great novel, we can retrace the adventures of the past – the films, styles, discourses, and receptions that made cinema the breakthrough reality it was in its first decades. But we can also co...
Staging and the Arts in Nineteenth-Century France
This book discusses the mechanisms and patterns of staging in nineteenth-century France. Often associated with theatre and performance, staging also applies to visual arts. It is thoroughly embedded in a more general cultural development comprising the dissemination of knowledge, political awareness and consumerism. The notion of staging applies to a process of appearing, revealing and disappearing that puts forward new ways for the individual to be seen and to make the self (and the other) visible. Staging determines and questions the process of appearing and disappearing by generating connections and interactions between multiple layers of reality (i.e., artistic, theatrical, literary, and visual) – but according to what criteria, through what mechanisms and with what materials? What are the repercussions of staging, and, even more important, what does staging not show? This book argues that the notion of staging goes beyond interdisciplinarity. Looking at the different ways staging was used and conceived introduces new approaches to understanding visual culture in nineteenth-century France.
Beyond the Screen
This scholarly anthology presents a new framework for understanding early cinema through its usage outside the realm of entertainment. From its earliest origins until the beginning of the twentieth century, cinema provided widespread access to remote parts of the globe and immediate reports on important events. Reaching beyond the nickelodeon theatres, cinema became part of numerous institutions, from churches and schools to department stores and charitable organizations. Then, in 1915, the Supreme Court declared moviemaking a “busines, pure and simple,” entrenching the film industry’s role as a producer of “harmless entertainment.” In Beyond the Screen, contributors shed light on how pre-1915 cinema defined itself through institutional interconnections and publics interested in science, education, religious uplift, labor organizing, and more.
Spaces Mapped and Monstrous
Digital 3D has become a core feature of the twenty-first-century visual landscape. Yet 3D cinema is a contradictory media form: producing spaces that are highly regimented and exhaustively detailed, it simultaneously relies upon distortions of vision and space that are inherently strange. Spaces Mapped and Monstrous explores the paradoxical nature of 3D cinema to offer a critical analysis of an inescapable part of contemporary culture. Considering 3D’s distinctive visual qualities and its connections to wider digital systems, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts. He examines 3D’s relationship with...
