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- Narrative and narration : some rudiments##- Le grand imagier steps out : on the primitive basis of film narration##- The imagined seeing thesis##- Le grand imagier in review##- Elusive narrators in literature##- Elusive narrators in film##- Transparency and twist in narrative fiction film##- Transfiguration and self-conscious narration : on Von Sternberg's last films with Dietrich##- Love and bullshit in Santa Rosa : pastiche in The man who wasn't there.

Film --- Theory of knowledge --- Philosophie et cinéma --- Cinéma --- Narration --- Motion pictures --- Motion picture audiences. --- Narration (Rhetoric) --- Esthétique --- Publics --- Philosophy. --- Aesthetics. --- Narration. --- Philosophie et cinéma. --- Esthétique. --- Publics.

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About the attractiveness and usefulness of the term ""cinema of attractions"" for both pre-classical and post-classical cinema

Film --- Experimental films --- Motion picture audiences --- Motion pictures --- 791.43 --- eenentwintigste eeuw --- experimenetele film --- film --- filmgeschiedenis --- filmtheorie --- receptie-esthetica --- spektakel --- twintigste eeuw --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- History and criticism --- History --- Audiences --- Motion picture audiences. --- Cinéma --- Films expérimentaux --- History. --- History and criticism. --- Histoire --- Histoire et critique --- Publics --- Attractions (Spectacles). --- Cinéma underground--Critique et interprétation. --- Films expérimentaux--Histoire et critique. --- Cinéma--Histoire--20e siècle--Anthologies. --- Film criticism. --- Motion pictures. --- Music, Dance, Drama & Film

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Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity-or both at once.From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.

Motion picture audiences --- Video art --- Motion pictures and the arts. --- Art and motion pictures. --- Motion picture industry --- History. --- Technological innovations. --- kunst --- film --- filmtheorie --- filmgeschiedenis --- video --- videkunst --- filmproductie --- filmdistributie --- experimentele film --- 791.41 --- Film industry (Motion pictures) --- Moving-picture industry --- Art and moving-pictures --- Motion pictures and art --- Arts and motion pictures --- Moving-pictures and the arts --- Electronic art --- Experimental television --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Motion pictures and the arts --- Art and motion pictures --- History --- Technological innovations --- Cultural industries --- Motion pictures --- Arts --- Art, Modern --- Performance art --- Television --- Experimental films --- Performing arts --- Audiences --- Art et cinéma. --- Art vidéo --- Cinéma Industrie --- Cinéma et arts. --- Cinéma --- Media Studies. --- Motion picture audiences. --- Video art. --- Histoire. --- Innovations. --- Publics. --- Time-based art