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" Les jeunes artistes ont un flair redoutable pour repérer les histoires à bout de souffle ", écrit le critique d'art Brian O'Doherty en 1976. Dans le courant des années 1970, les images en mouvement prêtent main forte à un affranchissement : forger une alternative aux ambitions théoriques et politiques dominantes. Gordon Matta-Clark, James Benning et Chris Marker : trois manières de mettre en œuvre, par le film, une pratique de l'évidement, du négatif, qui veille sur les objets déchus mais précieux. Le support filmique devient, entre leurs mains, la matière d'une expérience critique décisive. Gagnées à cette énergie, dans leur sillage, des œuvres contemporaines prolongent ce mouvement engagé depuis les marges. Les films de Tacita Dean, Matthew Buckingham, Clemens von Wedemeyer, Mike Kelley, Gerard Byrne et Jeremy Deller refusent l'embaumement, le confort, la maîtrise. Ils s'installent au contraire dans un échange dense et risqué avec les réalités dont ils décident de se saisir. Chercheurs d'or, les artistes travaillent à extraire, d'une matière trop lisse, les pépites qui résistent à une vision linéaire de l'histoire.
Cinéma --- Art et cinéma --- Esthétique --- Esthétique. --- Art et cinéma.
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Focusing on early cinema's relationship with the pictorial arts, this pioneering study explores how cinema's emergence was grounded in theories of picture composition, craft and arts education - from magic lantern experiments in 1890s New York through to early Hollywood feature films in the 1920s. Challenging received notions that the advent of cinema was a celebration of mechanisation and a radical rejection of nineteenth-century traditions of representation, Kaveh Askari instead emphasises the overlap between craft traditions and modernity in early film. Opening up valuable new perspectives on the history of film as art, Askari links American silent cinema with the practice of teaching the public how to appreciate fine art; charts its entrance into arts education via art schools and university film courses; shows how concepts of artistic production entered films through a material interest in the studio; and examines the way in which Maurice Tourneur and Rex Ingram made early art films by shaping an image of the film director around the idea of the fine artist
Cinéma --- Art et cinéma --- Motion pictures --- Art and motion pictures --- Histoire et critique --- History --- Art and moving-pictures --- Motion pictures and art --- Art et cinéma.
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Janssens, Djos --- Installations (Art) --- Art et cinéma. --- Films burlesques --- Histoire et critique. --- Janssens, Djos, --- Critique et interprétation.
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Comment penser un film de fiction à partir des œuvres d’art qui s’y trouvent sous la forme d’objet, de représentation, de projet, de performance ou d’évènement ? À l’inverse, comment penser les œuvres et les arts non filmiques à partir du cinéma qui les met en scène, en images et en récit ? C’est à ces deux questions reliées circulairement qu’est consacré cet ouvrage collectif où dialoguent historiens, théoriciens, critiques et esthéticiens du cinéma
Art --- Art et cinéma --- Au cinéma --- Art and motion pictures. --- Art in motion pictures. --- Film. --- Kunstwerk. --- Motion pictures --- Plots, themes, etc. --- Au cinéma. --- Art et cinéma. --- Art and motion pictures --- Painting and motion pictures --- Art in motion pictures --- Art et cinéma. --- Au cinéma.
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This book explores the epistemological potential of meta- and inter-images. Since the 1990s, when the question of the visual became central in various arts and humanities disciplines, images that refer to themselves as such or to other images have enjoyed an increasing interest. Meta- and Inter-Images in Contemporary Visual Art and Culture partakes in, enriches and updates these debates. It investigates what meta- and inter-images can make known about the visual, in its own terms, by its own means. This book tackles meta- and inter-images in an array of creative artefacts, practices, and media. It unfolds the epistemological potential of every meta- and inter-image discussed to raise questions such as: What are images? How do they work? By whom, to what purpose, to what effect and in what context/s are they used? How are they created and understood? And how do they challenge our (pre)conceptions of images and the ways we study them?
Communication visuelle --- Illustrations, images, etc. --- Interprétation --- Art and motion pictures. --- Art et cinéma --- mediatheorie --- Scorsese Martin --- Viola Bill --- Kabakov Ilya --- Macuga Goshka --- Hazanavicius Michel --- Matta Roberto --- Balthus Anne --- Schuiten François --- Peeters Benoît --- Art et cinéma --- kunst --- kunsttheorie --- esthetica --- cultuurfilosofie --- film --- filmtheorie --- literatuur --- media --- fotografie --- fotografietheorie --- Lawler Louise --- Sugimoto Hiroshi --- Bochner Mel --- Rauschenberg Robert --- Baldessari John --- 7.039 --- 7.01 --- 7.01 Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Art --- Aesthetics of art --- Art, Modern --- Art and society --- Image (Philosophy) --- Art et société --- Image (Philosophie) --- History --- Histoire --- Communication visuelle. --- Interprétation. --- Art and society. --- Art, Modern. --- Filmteori. --- Image (Philosophy). --- Intermedialitet. --- Konstteori. --- 2000-2099. --- Illustrations
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