Cinematic Intermediality : : Theory and Practice / / Kim Knowles, Marion Schmid.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE COMPLETE 2022 English
• VerfasserIn: Knowles, Kim,; Schmid, Marion,
• MitwirkendeR: Barber, Stephen,; Beugnet, Martine,; Dicker, Barnaby,; Jacobs, Steven,; Jutz, Gabriele,; Knowles, Kim,; Pethő, Ágnes,; Pucill, Sarah,; Reynolds, Lucy,; Roberts, Adam,; Rocamora, Isabel,; Schmid, Marion,; Townsend, Christopher,; Vasof, Anna,; Wiseman, Boris,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2021
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Studies in Film and Intermediality : ESFI
• Physical Description: 1 online resource (224 p.) :; 28 B/W illustrations

Outlines an innovative agenda for understanding film’s interaction with other art formsOpens up new critical perspectives for understanding the role of intermediality in moving image creationBroadens the traditional horizon of film studies, challenging mono-medial conceptions of filmOffers a broad and inclusive view of cinematic intermediality, with a special emphasis on understudied avant-garde and experimental practiceAs a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.

Table of Contents

Frontmatter -- Contents -- List of Figures -- Acknowledgements -- The Contributors -- Introduction -- Part 1 Mapping the Interzone -- 1 Film and Performance: Intermedial Intersections -- 2 Carving Cameras: Antonioni’s Lo Sguardo di Michelangelo -- 3 The Photo-filmic and the Post-human: Picturesque Landscapes at the Peripheries of Global Cinema -- 4 Dream Screen: On Cinema and Painting, Blur and Absorption -- Part 2 The Intermedial Avant-gardes -- 5 From the Periphery to the Interstices: Avant-garde Film, Medium Specificity and Intermediality, 1970–2015 -- 6 The ‘Artist as Filmmaker’: Modernisms, Schisms, Misunderstandings -- 7 The Artwork/Statement as Intermedial Nexus: Paul Sharits’s N:O:T:H:I:N:G -- Part 3 Technology, Apparatus, Affect -- 8 Intermediality and the Origins of Cinema -- 9 Cinematography’s Blind Spots: Artistic Exploitations of the Film Frame -- 10 Filming and Feeling between the Arts: Pascale Breton, Suite armoricaine and Eugène Green, Le Fils de Joseph -- Part 4 Intermedial Creation -- 11 What Does a Dance Filmmaker See? -- 12 Performance, Moving Image, Installation: The Making of Body of War and Faith -- 13 Muybridge’s Disobedient Horses: Non-stop Stop-motion -- 14 A Dialogue with Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror -- Index