Artists' Moving Image
portes grátis
Artists' Moving Image
Cinema as Archive
Smith, Sarah
Bloomsbury Publishing PLC
04/2026
200
Mole
Inglês
9781350232327
Pré-lançamento - envio 15 a 20 dias após a sua edição
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Introduction: Citations of Cinema in Artists' Moving Image Since the 1990s
Section 1: Sampling
Chapter 1: Slurs, Stutters and Screams: Articulations of Hollywood's Unconscious in Artists' Moving Image
? 24 Hour Psycho (Douglas Gordon, 1993)
? Alone. Life Wastes Andy Hardy (Martin Arnold, 1998)
? Him + Her (Candice Breitz, 1968-2008)
Chapter 2: Found Footage Film as Feminist Poetics
? Bullets for Breakfast (Holly Fisher, 1992)
? Psi Girls (Susan Hiller, 1999)
? Mirror World (Abigail Child, 2006)
Chapter 3: The Documentary Turn in Contemporary Art
? B/Side (Abigail Child, 1996)
? Dial H-I-S-T-O-R-Y (Johan Grimonprez, 1997)
? Bernadette (Duncan Campbell, 2008)
Section 2: Imitation
Chapter 4: Maximal Intertextuality
? Cremaster Cycle (Matthew Barney, 1994-2002)
? Feature (Shezad Dawood, 2008)
? Over the Rainbow (Rachel Maclean, 2013)
Chapter 5: Aesthetic Dissonance and the Hollywood Fragment as Audiovisual Metonym
? Deadpan (Steve McQueen, 1997)
? Zoo (Salla Tykkae, 2006)
? Zarathustra (Jesse Jones, 2008)
Chapter 6: The Unfinished Film and Archival Partiality
? Two Impossible Films (Mark Lewis, 1995)
? Unfolding the Aryan Papers (Jane and Louise Wilson, 2009)
? End Credits (Steve McQueen, 2012-2022)
Conclusion: New Directions for Critical Engagements with Cinema in Artists' Moving Image
Bibliography
Index
Section 1: Sampling
Chapter 1: Slurs, Stutters and Screams: Articulations of Hollywood's Unconscious in Artists' Moving Image
? 24 Hour Psycho (Douglas Gordon, 1993)
? Alone. Life Wastes Andy Hardy (Martin Arnold, 1998)
? Him + Her (Candice Breitz, 1968-2008)
Chapter 2: Found Footage Film as Feminist Poetics
? Bullets for Breakfast (Holly Fisher, 1992)
? Psi Girls (Susan Hiller, 1999)
? Mirror World (Abigail Child, 2006)
Chapter 3: The Documentary Turn in Contemporary Art
? B/Side (Abigail Child, 1996)
? Dial H-I-S-T-O-R-Y (Johan Grimonprez, 1997)
? Bernadette (Duncan Campbell, 2008)
Section 2: Imitation
Chapter 4: Maximal Intertextuality
? Cremaster Cycle (Matthew Barney, 1994-2002)
? Feature (Shezad Dawood, 2008)
? Over the Rainbow (Rachel Maclean, 2013)
Chapter 5: Aesthetic Dissonance and the Hollywood Fragment as Audiovisual Metonym
? Deadpan (Steve McQueen, 1997)
? Zoo (Salla Tykkae, 2006)
? Zarathustra (Jesse Jones, 2008)
Chapter 6: The Unfinished Film and Archival Partiality
? Two Impossible Films (Mark Lewis, 1995)
? Unfolding the Aryan Papers (Jane and Louise Wilson, 2009)
? End Credits (Steve McQueen, 2012-2022)
Conclusion: New Directions for Critical Engagements with Cinema in Artists' Moving Image
Bibliography
Index
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
artists' moving image; artists' moving image; contemporary art and film; contemporary art and film; art and cinema; art and cinema; experimental film; experimental film; artists' film and video; artists' film and video; found footage art; found footage art; feminist film practice; feminist film practice; reworking Hollywood cinema; reworking Hollywood cinema; archival film art; archival film art; moving image installation; moving image installation; Steve McQueen; Steve McQueen; Douglas Gordon; Douglas Gordon; Shezad Dawood; Shezad Dawood; Rachel Maclean; Rachel Maclean; Jesse Jones; Jesse Jones; Matthew Barney; Matthew Barney; Susan Hiller; Susan Hiller; Abigail Child; Abigail Child; Duncan Campbell; Duncan Campbell; film as cultural archive; film as cultural archive; intertextuality in art; intertextuality in art; postmodern film aesthetics; postmodern film aesthetics; sampling and imitation in art; sampling and imitation in art; documentary turn in contemporary art; documentary turn in contemporary art; unfinished film; unfinished film; art and memory; art and memory; cinema as archive; cinema as archive; visual culture and film; visual culture and film; film appropriation; film appropriation; art exhibition practice; art exhibition practice; twentieth-century cinema; twentieth-century cinema; contemporary moving image artists; contemporary moving image artists; Hollywood in contemporary art; Hollywood in contemporary art; critical film analysis in art practice; critical film analysis in art practice.
Introduction: Citations of Cinema in Artists' Moving Image Since the 1990s
Section 1: Sampling
Chapter 1: Slurs, Stutters and Screams: Articulations of Hollywood's Unconscious in Artists' Moving Image
? 24 Hour Psycho (Douglas Gordon, 1993)
? Alone. Life Wastes Andy Hardy (Martin Arnold, 1998)
? Him + Her (Candice Breitz, 1968-2008)
Chapter 2: Found Footage Film as Feminist Poetics
? Bullets for Breakfast (Holly Fisher, 1992)
? Psi Girls (Susan Hiller, 1999)
? Mirror World (Abigail Child, 2006)
Chapter 3: The Documentary Turn in Contemporary Art
? B/Side (Abigail Child, 1996)
? Dial H-I-S-T-O-R-Y (Johan Grimonprez, 1997)
? Bernadette (Duncan Campbell, 2008)
Section 2: Imitation
Chapter 4: Maximal Intertextuality
? Cremaster Cycle (Matthew Barney, 1994-2002)
? Feature (Shezad Dawood, 2008)
? Over the Rainbow (Rachel Maclean, 2013)
Chapter 5: Aesthetic Dissonance and the Hollywood Fragment as Audiovisual Metonym
? Deadpan (Steve McQueen, 1997)
? Zoo (Salla Tykkae, 2006)
? Zarathustra (Jesse Jones, 2008)
Chapter 6: The Unfinished Film and Archival Partiality
? Two Impossible Films (Mark Lewis, 1995)
? Unfolding the Aryan Papers (Jane and Louise Wilson, 2009)
? End Credits (Steve McQueen, 2012-2022)
Conclusion: New Directions for Critical Engagements with Cinema in Artists' Moving Image
Bibliography
Index
Section 1: Sampling
Chapter 1: Slurs, Stutters and Screams: Articulations of Hollywood's Unconscious in Artists' Moving Image
? 24 Hour Psycho (Douglas Gordon, 1993)
? Alone. Life Wastes Andy Hardy (Martin Arnold, 1998)
? Him + Her (Candice Breitz, 1968-2008)
Chapter 2: Found Footage Film as Feminist Poetics
? Bullets for Breakfast (Holly Fisher, 1992)
? Psi Girls (Susan Hiller, 1999)
? Mirror World (Abigail Child, 2006)
Chapter 3: The Documentary Turn in Contemporary Art
? B/Side (Abigail Child, 1996)
? Dial H-I-S-T-O-R-Y (Johan Grimonprez, 1997)
? Bernadette (Duncan Campbell, 2008)
Section 2: Imitation
Chapter 4: Maximal Intertextuality
? Cremaster Cycle (Matthew Barney, 1994-2002)
? Feature (Shezad Dawood, 2008)
? Over the Rainbow (Rachel Maclean, 2013)
Chapter 5: Aesthetic Dissonance and the Hollywood Fragment as Audiovisual Metonym
? Deadpan (Steve McQueen, 1997)
? Zoo (Salla Tykkae, 2006)
? Zarathustra (Jesse Jones, 2008)
Chapter 6: The Unfinished Film and Archival Partiality
? Two Impossible Films (Mark Lewis, 1995)
? Unfolding the Aryan Papers (Jane and Louise Wilson, 2009)
? End Credits (Steve McQueen, 2012-2022)
Conclusion: New Directions for Critical Engagements with Cinema in Artists' Moving Image
Bibliography
Index
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
artists' moving image; artists' moving image; contemporary art and film; contemporary art and film; art and cinema; art and cinema; experimental film; experimental film; artists' film and video; artists' film and video; found footage art; found footage art; feminist film practice; feminist film practice; reworking Hollywood cinema; reworking Hollywood cinema; archival film art; archival film art; moving image installation; moving image installation; Steve McQueen; Steve McQueen; Douglas Gordon; Douglas Gordon; Shezad Dawood; Shezad Dawood; Rachel Maclean; Rachel Maclean; Jesse Jones; Jesse Jones; Matthew Barney; Matthew Barney; Susan Hiller; Susan Hiller; Abigail Child; Abigail Child; Duncan Campbell; Duncan Campbell; film as cultural archive; film as cultural archive; intertextuality in art; intertextuality in art; postmodern film aesthetics; postmodern film aesthetics; sampling and imitation in art; sampling and imitation in art; documentary turn in contemporary art; documentary turn in contemporary art; unfinished film; unfinished film; art and memory; art and memory; cinema as archive; cinema as archive; visual culture and film; visual culture and film; film appropriation; film appropriation; art exhibition practice; art exhibition practice; twentieth-century cinema; twentieth-century cinema; contemporary moving image artists; contemporary moving image artists; Hollywood in contemporary art; Hollywood in contemporary art; critical film analysis in art practice; critical film analysis in art practice.
