Post-cinema : : Cinema in the Post-art Era / / Dominique Chateau, José Moure.
Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order t...
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Place / Publishing House: | Amsterdam : : Amsterdam University Press,, [2020] ©2020 |
Year of Publication: | 2020 |
Edition: | 1st ed. |
Language: | English |
Series: | The Key Debates: Mutations and Appropriations in European Film Studies
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Physical Description: | 1 online resource (376 p.) |
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(CKB)5310000000017027 (DE-B1597)571774 (DE-B1597)9789048551941 (OCoLC)1224278790 (MiAaPQ)EBC30406563 (Au-PeEL)EBL30406563 (PPN)250733900 (EXLCZ)995310000000017027 |
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Post-cinema : Cinema in the Post-art Era / Dominique Chateau, José Moure. 1st ed. Amsterdam : Amsterdam University Press, [2020] ©2020 1 online resource (376 p.) text txt rdacontent computer c rdamedia online resource cr rdacarrier The Key Debates: Mutations and Appropriations in European Film Studies Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) This eBook is made available Open Access under a CC BY-NC-ND 4.0 license: https://creativecommons.org/licenses/by-nc-nd/4.0https://www.aup.nl/en/publish/open-access Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order to study the new way of making filmic images in new conditions more or less remote from the dispositif of the theater and in closer relationship with contemporary art. The issue will be considered at three levels: the impression of post-art on "regular" films ; the "relocation" (Cassetti) of the same films that can be seen using devices of all kinds, in conditions more or less remote from the dispositif of the theater ; parallel to the integration of contemporary art in "regular" cinema, the integration of cinema into contemporary art in all kinds of forms of creation and exhibition. In English. Frontmatter -- Table of Contents -- Editorial -- Acknowledgments -- 1. Introduction -- PART I A Tribute to Agnès Varda -- 2. The Incipit of Beaches of Agnès (Les plages d’Agnès) An Installation in the Form of a Self-portrait -- PART II The End of Cinema? -- 3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 -- 4. Cinema Hangs Tough -- 5. Jean-Luc Godard’s Histoire(s) du cinéma or Cinema Surpasses Itself -- PART III Technological Transformations -- 6. Mutation, Appropriation and Style -- 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue -- 8. In-Flight Entertainment or the Emptying Process of Art in the Air -- PART IV New Dispositif, New Conditions -- 9. What Kind of Art Is the Cinema of Interactions? -- 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations -- 11. Post-cinema Ecology -- PART V Transformations in Film Form -- 12. Dwelling with Moving Images -- 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film -- 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge -- 15. The Zidane Film -- PART VI Post-cinema, an Artists’ Affair -- 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 -- 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s DAU -- 18. Cinématon: The Shortest Films for the Longest Film – A Dialogue -- 19. Documentary as Contemporary Art – A Dialogue PERFORMING ARTS / Film & Video / Direction & Production. bisacsh film, contemporary art, media, aesthetics, dispositif. 90-485-5194-3 Andrea, Pinotti, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb André, Gaudreault, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Oever, Annie van den, 1957- contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Chateau, Dominique, editor. edt http://id.loc.gov/vocabulary/relators/edt Christophe, Génin, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Christophe, Viart, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Céline, Scemama, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Dominique, Chateau, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Dudley, Andrew, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Eugénie, Zvonkine, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Francesco, Casetti, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Jost, François, 1949-, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Gabriela, Rivadeneira Crespo, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Giovanna, Fossati, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Gérard, Courant, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb José, Moure, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Malte, Hagener, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Miriam, De Rosa, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Moure, José, editor. edt http://id.loc.gov/vocabulary/relators/edt Philippe, Marion, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Richard, Conte, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Victor, Burgin, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb Wang, Bing, contribtor. ctb https://id.loc.gov/vocabulary/relators/ctb |
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English |
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Andrea, Pinotti, Andrea, Pinotti, André, Gaudreault, André, Gaudreault, Oever, Annie van den, 1957- Oever, Annie van den, 1957- Chateau, Dominique, Chateau, Dominique, Christophe, Génin, Christophe, Génin, Christophe, Viart, Christophe, Viart, Céline, Scemama, Céline, Scemama, Dominique, Chateau, Dominique, Chateau, Dudley, Andrew, Dudley, Andrew, Eugénie, Zvonkine, Eugénie, Zvonkine, Francesco, Casetti, Francesco, Casetti, Jost, François, 1949-, Jost, François, 1949-, Gabriela, Rivadeneira Crespo, Gabriela, Rivadeneira Crespo, Giovanna, Fossati, Giovanna, Fossati, Gérard, Courant, Gérard, Courant, José, Moure, José, Moure, Malte, Hagener, Malte, Hagener, Miriam, De Rosa, Miriam, De Rosa, Moure, José, Moure, José, Philippe, Marion, Philippe, Marion, Richard, Conte, Richard, Conte, Victor, Burgin, Victor, Burgin, Wang, Bing, Wang, Bing, |
author_facet |
Andrea, Pinotti, Andrea, Pinotti, André, Gaudreault, André, Gaudreault, Oever, Annie van den, 1957- Oever, Annie van den, 1957- Chateau, Dominique, Chateau, Dominique, Christophe, Génin, Christophe, Génin, Christophe, Viart, Christophe, Viart, Céline, Scemama, Céline, Scemama, Dominique, Chateau, Dominique, Chateau, Dudley, Andrew, Dudley, Andrew, Eugénie, Zvonkine, Eugénie, Zvonkine, Francesco, Casetti, Francesco, Casetti, Jost, François, 1949-, Jost, François, 1949-, Gabriela, Rivadeneira Crespo, Gabriela, Rivadeneira Crespo, Giovanna, Fossati, Giovanna, Fossati, Gérard, Courant, Gérard, Courant, José, Moure, José, Moure, Malte, Hagener, Malte, Hagener, Miriam, De Rosa, Miriam, De Rosa, Moure, José, Moure, José, Philippe, Marion, Philippe, Marion, Richard, Conte, Richard, Conte, Victor, Burgin, Victor, Burgin, Wang, Bing, Wang, Bing, |
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title |
Post-cinema : Cinema in the Post-art Era / |
spellingShingle |
Post-cinema : Cinema in the Post-art Era / The Key Debates: Mutations and Appropriations in European Film Studies Frontmatter -- Table of Contents -- Editorial -- Acknowledgments -- 1. Introduction -- PART I A Tribute to Agnès Varda -- 2. The Incipit of Beaches of Agnès (Les plages d’Agnès) An Installation in the Form of a Self-portrait -- PART II The End of Cinema? -- 3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 -- 4. Cinema Hangs Tough -- 5. Jean-Luc Godard’s Histoire(s) du cinéma or Cinema Surpasses Itself -- PART III Technological Transformations -- 6. Mutation, Appropriation and Style -- 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue -- 8. In-Flight Entertainment or the Emptying Process of Art in the Air -- PART IV New Dispositif, New Conditions -- 9. What Kind of Art Is the Cinema of Interactions? -- 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations -- 11. Post-cinema Ecology -- PART V Transformations in Film Form -- 12. Dwelling with Moving Images -- 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film -- 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge -- 15. The Zidane Film -- PART VI Post-cinema, an Artists’ Affair -- 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 -- 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s DAU -- 18. Cinématon: The Shortest Films for the Longest Film – A Dialogue -- 19. Documentary as Contemporary Art – A Dialogue |
title_sub |
Cinema in the Post-art Era / |
title_full |
Post-cinema : Cinema in the Post-art Era / Dominique Chateau, José Moure. |
title_fullStr |
Post-cinema : Cinema in the Post-art Era / Dominique Chateau, José Moure. |
title_full_unstemmed |
Post-cinema : Cinema in the Post-art Era / Dominique Chateau, José Moure. |
title_auth |
Post-cinema : Cinema in the Post-art Era / |
title_alt |
Frontmatter -- Table of Contents -- Editorial -- Acknowledgments -- 1. Introduction -- PART I A Tribute to Agnès Varda -- 2. The Incipit of Beaches of Agnès (Les plages d’Agnès) An Installation in the Form of a Self-portrait -- PART II The End of Cinema? -- 3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 -- 4. Cinema Hangs Tough -- 5. Jean-Luc Godard’s Histoire(s) du cinéma or Cinema Surpasses Itself -- PART III Technological Transformations -- 6. Mutation, Appropriation and Style -- 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue -- 8. In-Flight Entertainment or the Emptying Process of Art in the Air -- PART IV New Dispositif, New Conditions -- 9. What Kind of Art Is the Cinema of Interactions? -- 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations -- 11. Post-cinema Ecology -- PART V Transformations in Film Form -- 12. Dwelling with Moving Images -- 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film -- 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge -- 15. The Zidane Film -- PART VI Post-cinema, an Artists’ Affair -- 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 -- 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s DAU -- 18. Cinématon: The Shortest Films for the Longest Film – A Dialogue -- 19. Documentary as Contemporary Art – A Dialogue |
title_new |
Post-cinema : |
title_sort |
post-cinema : cinema in the post-art era / |
series |
The Key Debates: Mutations and Appropriations in European Film Studies |
series2 |
The Key Debates: Mutations and Appropriations in European Film Studies |
publisher |
Amsterdam University Press, |
publishDate |
2020 |
physical |
1 online resource (376 p.) |
edition |
1st ed. |
contents |
Frontmatter -- Table of Contents -- Editorial -- Acknowledgments -- 1. Introduction -- PART I A Tribute to Agnès Varda -- 2. The Incipit of Beaches of Agnès (Les plages d’Agnès) An Installation in the Form of a Self-portrait -- PART II The End of Cinema? -- 3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 -- 4. Cinema Hangs Tough -- 5. Jean-Luc Godard’s Histoire(s) du cinéma or Cinema Surpasses Itself -- PART III Technological Transformations -- 6. Mutation, Appropriation and Style -- 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue -- 8. In-Flight Entertainment or the Emptying Process of Art in the Air -- PART IV New Dispositif, New Conditions -- 9. What Kind of Art Is the Cinema of Interactions? -- 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations -- 11. Post-cinema Ecology -- PART V Transformations in Film Form -- 12. Dwelling with Moving Images -- 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film -- 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge -- 15. The Zidane Film -- PART VI Post-cinema, an Artists’ Affair -- 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 -- 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s DAU -- 18. Cinématon: The Shortest Films for the Longest Film – A Dialogue -- 19. Documentary as Contemporary Art – A Dialogue |
isbn |
90-485-5194-3 |
callnumber-first |
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PN1995 |
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illustrated |
Not Illustrated |
dewey-hundreds |
700 - Arts & recreation |
dewey-tens |
790 - Sports, games & entertainment |
dewey-ones |
791 - Public performances |
dewey-full |
791.4301 |
dewey-sort |
3791.4301 |
dewey-raw |
791.4301 |
dewey-search |
791.4301 |
oclc_num |
1224278790 |
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In-Flight Entertainment or the Emptying Process of Art in the Air --</subfield><subfield code="t">PART IV New Dispositif, New Conditions --</subfield><subfield code="t">9. What Kind of Art Is the Cinema of Interactions? --</subfield><subfield code="t">10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations --</subfield><subfield code="t">11. Post-cinema Ecology --</subfield><subfield code="t">PART V Transformations in Film Form --</subfield><subfield code="t">12. Dwelling with Moving Images --</subfield><subfield code="t">13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film --</subfield><subfield code="t">14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge --</subfield><subfield code="t">15. The Zidane Film --</subfield><subfield code="t">PART VI Post-cinema, an Artists’ Affair --</subfield><subfield code="t">16. The Happy Failure. 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Documentary as Contemporary Art – A Dialogue</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">PERFORMING ARTS / Film & Video / Direction & Production.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="653" ind1=" " ind2=" "><subfield code="a">film, contemporary art, media, aesthetics, dispositif.</subfield></datafield><datafield tag="776" ind1=" " ind2=" "><subfield code="z">90-485-5194-3</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Andrea, Pinotti,</subfield><subfield code="e">contribtor.</subfield><subfield code="4">ctb</subfield><subfield code="4">https://id.loc.gov/vocabulary/relators/ctb</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">André, Gaudreault,</subfield><subfield code="e">contribtor.</subfield><subfield code="4">ctb</subfield><subfield code="4">https://id.loc.gov/vocabulary/relators/ctb</subfield></datafield><datafield tag="700" ind1="1" ind2=" 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