Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

L'image peut-elle créer du sens ? Pour répondre à cette question le cinéma est un auxiliaire précieux, lui qui recueille, en le transformant, l'héritage formel et stylistique des arts qui l'ont précédé, y compris celui des arts voués aux seules formes statiques. L'idée directrice du parcours proposé ici est que le cinéma est, bien davantage que l'art des images mobiles, un art de la mobilité du sens et de son intensification parce qu'il est art du montage. C'est sa spécificité. La reconnaître ne conduit pas, loin s'en faut, à oblitérer la seconde composante de l'esthétique et de la logique cinématographiques : la composition du plan, le cadrage. L'analyse des possibilités expressives propres au cinéma contraint à poser autrement les questions philosophiques sur l'image, l'être et le mouvement. Une autre pensée de l'image se précise alors : l'image libérée du poids du modèle immuable et créatrice de sens en raison de sa mobilité propre ; l'image ouverte au sens parce que fragmentaire, et fragmentaire parce que prise dans une série intensive qui la transforme par le biais du montage ; l'image, pour tout dire, qui, étant toujours en appel de sens, nous force à percevoir les êtres et les choses dans toute leur épaisseur d'être, donc dans leur profondeur-de-monde. C'est par là que le cinéma donne une nouvelle amplitude à ce que nous nommons le "réel"

Philosophie et cinéma. --- Art et cinéma. --- Relations entre les arts.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Art Nouveau thrived from the late 1890s through the First World War. The international design movement reveled in curvilinear forms and both playful and macabre visions and had a deep impact on cinematic art direction, costuming, gender representation, genre, and theme. Though historians have long dismissed Art Nouveau as a decadent cultural mode, its tremendous afterlife in cinema proves otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's long history in films from various decades and global locales, appreciating the movement's enduring avant-garde aesthetics and dynamic ideology. Fischer begins with the portrayal of women and nature in the magical "trick films" of the Spanish director Segundo de Chomón; the elite dress and décor design choices in Cecil B. DeMille's The Affairs of Anatol (1921); and the mise-en-scène of fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome (1923), Fischer shows how the cinema offered an engaging frame for adapting the risqué works of Oscar Wilde and Aubrey Beardsley. Moving to the modern era, Fischer focuses on a series of dramatic films, including Michelangelo Antonioni's The Passenger (1975), that make creative use of the architecture of Antoni Gaudí; and several European works of horror-The Abominable Dr. Phibes (1971), Deep Red (1975), and The Strange Color of Your Body's Tears (2013)-in which Art Nouveau architecture and narrative supply unique resonances in scenes of terror. In later chapters, she examines films like Klimt (2006) that portray the style in relation to the art world and ends by discussing the Art Nouveau revival in 1960s cinema. Fischer's analysis brings into focus the partnership between Art Nouveau's fascination with the illogical and the unconventional and filmmakers' desire to upend viewers' perception of the world. Her work explains why an art movement embedded in modernist sensibilities can flourish in contemporary film through its visions of nature, gender, sexuality, and the exotic." -- Publisher's description.

Art and motion pictures. --- Art nouveau. --- Art belle époque --- Art nouva --- Arte joven --- Belle époque art --- Jugendstil --- Modern style (Art nouveau) --- Modernisme (Art nouveau) --- Modernismo (Art nouveau) --- Nieuwe kunst --- Stile Liberty --- Style nouille (Art nouveau) --- Aesthetic movement (Art) --- Art --- Art and moving-pictures --- Motion pictures and art --- Motion pictures --- Art et cinéma.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

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