Digital, video and new media arts Books
The University of Chicago Press Between the Black Box and the White Cube
Book SynopsisToday, the moving image is ubiquitous in global contemporary art. This book tells the story of the postwar expanded cinema. It travels back to the 1950s and 1960s when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art.
£28.00
Columbia University Press Cinematic Appeals
Book SynopsisTrade ReviewAriel Rogers's fascinating book looks at the affective addresses of technologically-innovative periods in film history to explore the different notions of spectatorial embodiment these technologies provide, from the immersive participation of the widescreen era to the relative disembodiment of the fragmented and alienated spectator in the digital era. She has made an important intervention in the ongoing discussions of spectatorship and embodiment in the cinema that will determine the direction of future scholarship in those fields. -- John Belton, Rutgers University Cinematic Appeals offers readers a concise exploration of new cinema formats and the claims and debates that surround their introduction... a wealth of interesting historical material and engaging and informative case studies featuring fine-grained analysis of individual films. Projections Ariel Rogers leads us into a fascinating journey full of information, which is theoretically robust... Cinema & Cie Timely and provocative. A well written and highly engaging text, Cinematic Appeals will interest anyone contemplating the nature of cinema in today's mediatized environment, as well as anyone interested in the history of film technology or film spectatorship. Film and HistoryTable of ContentsList of Illustrations Acknowledgments Introduction: Moving Machines 1. "Smothered in Baked Alaska": The Anxious Appeal of Widescreen Cinema 2. East of Eden in CinemaScope: Intimacy Writ Large 3. Digital Cinema's Heterogeneous Appeal: Debates on Embodiment, Intersubjectivity, and Immediacy 4. Awe and Aggression: The Experience of Erasure in The Phantom Menace and The Celebration 5. Points of Convergence: Conceptualizing the Appeal of 3D Cinema Then and Now Notes Selected Bibliography Index
£82.80
Columbia University Press After the Silents
Book SynopsisViewing more than two hundred films from the period, Michael Slowik launches the first comprehensive study of a long-neglected phase in Hollywood’s initial developmentTrade ReviewSlowik not only sketches out the important trends and developments of this nascent period of classical film music history but also makes a compelling argument that there are important continuities that connect the mature silent period with the early sound period. -- Jeff Smith, author of The Sounds of Commerce: Marketing Popular Film Music With a thorough investigation of hundreds of conversion-era feature films, Michael Slowik has provided an important revision of film music history to account for a wide range of scoring practices. After the Silents is impressive scholarship and a valuable resource for anyone with an interest in film sound. -- Jennifer Fleeger, author of Sounding American: Hollywood, Opera, and Jazz Scholars interested in film music will enjoy Slowik's discussion of the differences in film scoring practices across studios and in B films versus mainstream, higher-budget films... Recommended. Choice Slowik offers a comprehensive and compelling analysis of the evolving and diverse musical landscape of early sound film and revises our understanding of the development of the classical Hollywood film score. Journal of American HistoryTable of ContentsAcknowledgments Introduction 1. A Wide Array of Choices: Musical Influences in the 1920s 2. Music in Early Synchronized and Part-Talking Films, 1926-1929 3. Toward a Sparse Music Style: Music in the 100 Percent Talkie, 1928-1931 4. Interlude: The Hollywood Musical, 1929-1932 5. Music and Other Worlds: The Hollywood Film Score, 1931-1933 6. Reassessing King Kong; or, The Hollywood Film Score, 1933-1934 Conclusion Appendix: Chronological Filmography, 1926-1934 Notes Bibliography Index
£87.40
Columbia University Press Impersonal Enunciation or the Place of Film Film
Book SynopsisThe late work of an avant-garde theorist adds clarity to the phenomenology of new media.Trade ReviewMetz's generous personality is captured well here, something that no other English translation has accomplished. It is both an extension of Metz's path-breaking work in bringing the concepts and methods of linguistics and psychoanalysis to the study of film, and the articulation of fundamentally new directions in his thought. -- D. N. Rodowick, University of Chicago At long last, Christian Metz's final book, Impersonal Enunciation, is available in English, expertly translated by Cormac Deane. Metz's non-deictic, reflexive theory of enunciation, in which the film text continually references itself, constitutes the culmination of his lifelong semiotic analysis of the cinema. -- Warren Buckland, author of The Cognitive Semiotics of Film In this splendid new translation... Metz shines through, avoiding jargon, using richly illustrative examples, and writing with a persuasive voice.Publishers Weekly Publishers Weekly Metz returns to and develops the question of what speaks in the moving image: code, or something else. In meticulous and enlightening readings of films, television shows, and changing ways of watching them, Metz's posthumous text is a true ghost in the machine, a revenant who reopens many of the arguments we thought were closed and makes audiovisual media matter, once more, in every sense of the word -- Sean Cubitt, Goldsmiths, University of London The moments of poetry, wit, and charming cinephilia scattered throughout make this work as engaging as it is enlightening... Essential. CHOICETable of ContentsAcknowledgments Translator's Introduction Part I: Humanoid Enunciation 1. Humanoid Enunciation Part II: Some Landscapes of Enunciation (A Guided Tour) 2. The Voice of Address in the Image: The Look to Camera 3. The Voice of Address Outside the Image: Related Sounds 4. Written Modes of Address 5. Secondary Screens, or Squaring the Rectangle 6. Mirrors 7. "Exposing the Apparatus" 8. Film(s) Within Film 9. Subjective Images, Subjective Sounds, "Point of View" 10. The I-voice and Related Sounds 11. The Oriented Objective System: Enunciation and Style 12. "Neutral" (?) Images and Sounds Part III: A Walk in the Clouds (Taking Theoretical Flight) 13. (Taking Theoretical Flight) Afterword, by Dana Polan Notes On the Shelf: Works Cited Index
£999.99
Columbia University Press After Uniqueness A History of Film and Video Art
Book SynopsisA historical-conceptual perspective on the concept of the politicalTrade ReviewIf moving images are now consumed on more platforms than ever, what networks do they traverse to reach their audiences? What factors intervene to enable or restrict these passages? In After Uniqueness, Erika Balsom explores strategies that have changed our conceptual framework of how circulation functions today-what we mean by 'copy,' 'reproduction,' 'authenticity,' and 'authorship.' To explore this is to understand what moving images represent in our current world. An original, elegant, and impressively researched work. -- Francesco Casetti, Yale University Once only mechanically reproducible, all kinds of moving image art are now digitally copied and disseminated in innumerable apparatuses that were unimaginable forty years ago. Ranging in its references from eighteenth-century printmaking to UbuWeb, Balsom's brilliant and beautifully written book is a tour de force of scholarship and critical analysis that investigates the new forms of liberation and of control that ubiquitous copying offers. Its spirited intellection is exhilarating. -- David James, University of Southern California Balsom is at the forefront of a generation of scholars who focus on the history of film's relationship to the other arts-an enterprise that she terms, in the spirit of Andre Bazin, 'Where Is Cinema?' Her new volume is a timely addition that addresses the ubiquity of screens in contemporary art and examines, with her signature precision, the inner workings of the networks through which cinema now circulates. Indispensable reading! -- Bruce Jenkins, School of the Art Institute of ChicagoTable of ContentsAcknowledgments Introduction: Copy Rites 1. The Promise and Threat of Reproducibility 2. 8 mm and the "Blessings of Books and Records" 3. Bootlegging Experimental Film 4. Copyright and the Commons 5. The Limited Edition 6. The Event of Projection 7. A Cinematic Bayreuth 8. Transmission, from the Movie-Drome to Vdrome Notes Bibliography Index
£90.00
Columbia University Press After Uniqueness
Book SynopsisA historical-conceptual perspective on the concept of "the political"Trade ReviewIf moving images are now consumed on more platforms than ever, what networks do they traverse to reach their audiences? What factors intervene to enable or restrict these passages? In After Uniqueness, Erika Balsom explores strategies that have changed our conceptual framework of how circulation functions today-what we mean by 'copy,' 'reproduction,' 'authenticity,' and 'authorship.' To explore this is to understand what moving images represent in our current world. An original, elegant, and impressively researched work. -- Francesco Casetti, Yale University Once only mechanically reproducible, all kinds of moving image art are now digitally copied and disseminated in innumerable apparatuses that were unimaginable forty years ago. Ranging in its references from eighteenth-century printmaking to UbuWeb, Balsom's brilliant and beautifully written book is a tour de force of scholarship and critical analysis that investigates the new forms of liberation and of control that ubiquitous copying offers. Its spirited intellection is exhilarating. -- David James, University of Southern California Balsom is at the forefront of a generation of scholars who focus on the history of film's relationship to the other arts-an enterprise that she terms, in the spirit of Andre Bazin, 'Where Is Cinema?' Her new volume is a timely addition that addresses the ubiquity of screens in contemporary art and examines, with her signature precision, the inner workings of the networks through which cinema now circulates. Indispensable reading! -- Bruce Jenkins, School of the Art Institute of ChicagoTable of ContentsAcknowledgments Introduction: Copy Rites 1. The Promise and Threat of Reproducibility 2. 8 mm and the "Blessings of Books and Records" 3. Bootlegging Experimental Film 4. Copyright and the Commons 5. The Limited Edition 6. The Event of Projection 7. A Cinematic Bayreuth 8. Transmission, from the Movie-Drome to Vdrome Notes Bibliography Index
£999.99
Columbia University Press Reforming the City The Contested Origins of
Book SynopsisThe advent of new screening practices and viewing habits in the twenty-first century has spurred debate over what it means to be a cinephile. Sarah Keller places these competing visions in historical and theoretical perspective, tracing how the love of movies intertwines with anxieties over the content and impermanence of cinematic images.Trade ReviewAnxious Cinephilia is a remarkably balanced and inclusive take on our affection for images and related apprehensions. -- Jeff Heinzl * Spectrum Culture *Anxious Cinephilia gives us the most far-reaching theorization of cinephilia yet. This exploration of desire and anxiety as twin impulses unearths novel connections across film cultures, affective states, and moments of technological change, from early cinema to cinematic spectacle in the digital era. Keller produces a fascinating remapping of the shifting relationship between the spectator and the beloved object and refashions cinephilia for our anxious times. -- Belén Vidal, author of Heritage Film: Nation, Genre, and RepresentationThis quietly incendiary book makes a crucial intervention in the study of cinephilia by showing how the love of cinema has always been intertwined with anxiety. In embracing an expansive and historicized sense of cinephilia, it stands as an important corrective to previous scholarship that has far too often privileged French postwar auteurist film culture. A brilliant and ambitious work that will help spark a thousand cinema conversations. -- Girish Shambu, author of The New CinephiliaIf the x-axis of cinephile is love, then the y-axis—as Sarah Keller convincingly shows—is anxiety, fear, worry. With an acute sensitivity to the historical, phenomenological, technological, and generic ways in which this love/anxiety gets triggered, Keller provocatively deepens our understanding of the powerful, mysterious, multifaceted phenomenon we call cinephilia—and, importantly, she convincingly shows that cinephilia is not just a thing of the past but is still very much with us. Every cinephile will read this book with layers of emotional recognition. -- Christian Keathley, author of Cinephilia and History, or The Wind in the TreesAnxious Cinephilia is a meta-textual job well-done. * Senses of Cinema *Anxious Cinephilia provides a great departure point for readers to formulate their own cinephilic inquiries. * Cineaste *Table of ContentsAcknowledgmentsIntroduction1. Ardor and Anxiety: The History of Cinephilia2. Enchanting Images3. Cinephilia and Technology: Anxieties and Obsolescence4. The Exquisite ApocalypseConclusion: Anxious Times, Anxious CinemaNotesSelected BibliographyIndex
£76.00
Columbia University Press Duchamp Is My Lawyer The Polemics Pragmatics and
Book SynopsisIn 1996, Kenneth Goldsmith created UbuWeb to post hard-to-find works of concrete poetry. It grew into an essential archive of twentieth- and twenty-first-century avant-garde and experimental literature, film, and music. In Duchamp Is My Lawyer, Goldsmith tells the history of UbuWeb, explaining the motivations behind its creation.Trade ReviewNamed a Best Non-Fiction Book of 2020 * PopMatters *UbuWeb is one of the great avant-garde projects of our times. In Duchamp Is My Lawyer, Goldsmith takes us through the aesthetic, legal, economic, and social aspects of the whole project. Through it, we see how the avant-garde had to shift gears to move from the era of analog media to that of digital, or database media. It is an essential document on the theory and practice of experimental media art. -- McKenzie Wark, author of A Hacker ManifestoKenneth Goldsmith’s Duchamp Is My Lawyer details the story of UbuWeb, a free-source library for visual, audio and written art. He cites many extraordinary items – from masterpieces to flukes, oddities and trifles – that will send us rushing to the site to see, but the discussion is equally about the weighty issues of freedom vs ownership of culture. Goldsmith takes a stand – with Duchamp grinning wryly over his shoulder – for availability, access and the accumulation of knowledge. He’s holding the cultural back door open and letting in all the outcasts, misfits and oddballs that would never get past the velvet ropes up front. -- Lee Ranaldo, Sonic YouthDuchamp Is My Lawyer reads like an upbeat mediactivist manifesto—providing all at once an alternative political economy of open access, a humorous introduction to legal poetics, a joyful survey of artistic resistance, and an empowering toolbox to keep the web as free as we care for it to be. -- Yves Citton, author of MediarchyIn 1996, Kenneth Goldsmith sat down at his computer and initiated a website he appropriately called UbuWeb—a site soon consisting of “thousands of freely downloadable avant-garde artifacts,” and unlike any of its peers in being entirely free and open to all: no sponsors, no fees, no memberships or passwords required. Over the decades, it has become clear that UbuWeb, although an unmatchable scholarly resource, is itself the avant-garde artwork we have been waiting for—a giant collage of appropriated materials, chosen, juxtaposed, and framed so as to constitute perhaps the best single available history of its subject, and one entirely created by a single author—Goldsmith himself. The artist’s lively, entertaining, and revelatory account of how this uniquely democratic site was created and maintained, how he resolved vexing copyright issues, and how UBU has helped us reconsider movements from Concrete Poetry to the feminist punk of Angry Women—is nothing short of inspiring. This should be required reading for all those who wonder whether it still possible, in 2020, to speak of the avant-garde. -- Marjorie Perloff, author of Unoriginal Genius: Poetry by Other Means in the New CenturyUbuWeb is an anomaly of the internets. The irony is that it completely functions the way we envisioned the everything would, in the beginning of internets history. Kenneth Goldsmith kept UbuWeb true to the core values of the network: humanity, collectiveness, and borderless openness. In a world where data is synonymous with control and value is synonymous with price, UbuWeb functions as an oasis. -- Peter Sunde, founder of The Pirate BayWith an unshakable belief that art belongs more in the public sphere than behind closed walls, physical or digital, Kenneth Goldsmith originated the first open source platform for those who revere culture. This invigorating and timely book surveys why brilliant ideas, images, and sounds are important to both preserve and proliferate as freely as ever. -- Naomi Beckwith, senior curator at the Museum of Contemporary Art, ChicagoDuchamp Is My Lawyer is the in-depth secret history of one of Goldsmith's most expansive and long running projects—the renegade website UbuWeb. At once manifesto, memoir, treatise, exposition, critique, and gossip column, it presents an essential history of renegade underground creative activity in the past 100 or so years. Brilliantly structured and filled with wit, wisdom, and Goldsmith's provocations, it is also an inspiring and hilarious read. -- John Zorn, composer and performerOne of the smartest manifestos on art and internet politics that I've seen. * The Wire *This book, although written in the first person singular, is an example of collective enunciation, the 'I' of Kenneth Goldsmith being a cooperative person representing all those eager to rely on the creative and communicative possibilities of the net to build a collaborative framework that does not dissolve but offers new promises to all individuals as well. In that sense, Duchamp Is My Lawyer perfectly qualifies as what Deleuze and Guattari call 'minor literature,' . . .the noncanonical use of a 'major' system to serve the needs and expectations of those at the margins. * Leonardo Reviews *A remarkably fluid and engaging read. . . When I finished Duchamp Is My Lawyer, I had the pleasure of sitting in natural silence for a brief while, pondering how much I had learnt, how entertainingly the book had conveyed its message of openness, what a gift it is to have such a light touch. * PopMatters *Duchamp is My Lawyer is an approachable and even-handed discussion of UbuWeb and issues regarding copyright in the digital age. It also provides an insight into the evolution of the counter culture in the internet age and the practical, legal and financial issues of producing and consuming art today. Well worth seeking out. * Alexander Adams Art *This is a book for lovers of art’s revolutionary import and those interested in the interface between art and the law. Recommended. * Choice *UbuWeb is portrayed as a small utopia in the middle of the commercial Internet, built on the principles of freedom, equality and cultural progress, but also subversiveness . . . between the lines, [Goldsmith] persuades us to create other such utopian places online, to try to transform the Internet and reclaim its vision of the future. * 3/4 Magazine *Duchamp Is My Lawyer displays Goldsmith fulfilling an ethics of caring about others who care about conserving odd things. Caring is at the heart of this tender homage to eccentric collectors who have put themselves at legal risk to share their obsessions. * William Carlos Williams Review *Table of ContentsIntroduction: The Back DoorPart I: PolemicsPart II: Pragmatics 1. Folk Law2. From Panorama to Postage Stamp: Avant-Garde Cinema and the Internet3. The Work of Video Art in the Age of Digital Reproduction4. Shadow Libraries and Preserving the Memory of the WorldPart III: Poetics5. Dirty Concrete6. From Ursonate to Re-Sonate7. People Like Us8. Aspen: A “Multimedia Magazine in a Box”9. Street Poets and Visionaries10. An Anthology of AnthologiesCoda: The Ghost in the AlgorithmAppendix: 101 Things on UbuWeb That You Don’t Know About but Should NotesAcknowledgmentsIndex
£72.00
Columbia University Press Absence in Cinema The Art of Showing Nothing Film
Book SynopsisJustin Remes demonstrates how omissions of expected elements can spur viewers to interpret and understand the nature of film in new ways. Through a careful analysis of a broad array of avant-garde works, Absence in Cinema reveals that films must be understood not only in terms of what they show but also what they withhold.Trade ReviewAn enchanting, endearing feature of this detailed and serious study of four films by Walter Ruttmann, Stan Brakhage, Naomi Uman and Martin Arnold is that it advances through a series of anecdotes, conversations, diversions, cross-references and speculations, capturing the spirit of the avant-garde in critical writing, a feat at once difficult and joyful. -- Brinda Bose * Telegraph India *Absence in Cinema is a dazzling, meticulously detailed, even revolutionary work. Remes's style is so assured with such a light and knowing touch that the reader is propelled through the book from first page to last. -- Wheeler Winston Dixon, author of Synthetic Cinema: The 21st Century Movie MachineThis theoretically sophisticated book about a set of exemplary avant-garde films during which there is either “nothing” to see or “nothing” to hear, or both, is a remarkably fun read. Justin Remes is a magician who makes Nothing in cinema Something! -- Scott MacDonald, editor of Avant-Doc: Intersections of Documentary and Avant-Garde CinemaAbsence in Cinema is about mysterious gaps and thwarted expectations. Starting from the idea that “every absence is a presence in disguise”, Justin Remes combines aesthetic analysis with psychology, neuroscience and Buddhist philosophy to construct a powerful theory of erasure in experimental film culture. Taking in invisible art, soundless music and wordless poetry, Absence in Cinema is as incisive and radical as its subject matter. -- Holly Rogers, author of Sounding the Gallery: Video and the Rise of Art MusicAn important, vital contribution to film studies that will appeal to all scholars, students, and (especially) teachers of cinema...Highly recommended. * Choice *A witty, richly detailed book... a delight to read. * Journal of Cinema and Media Studies *Table of ContentsAcknowledgmentsIntroduction: Voids1. Walter Ruttman and the Blind Film2. Stan Brakhage and the Birth of Silence3. Naomi Uman and the Peekaboo Principle4. Martin Arnold’s Disappearing ActConclusion: Nothing Is ImportantFilmographyNotesIndex
£64.00
Columbia University Press Absence in Cinema
Book SynopsisJustin Remes demonstrates how omissions of expected elements can spur viewers to interpret and understand the nature of film in new ways. Through a careful analysis of a broad array of avant-garde works, Absence in Cinema reveals that films must be understood not only in terms of what they show but also what they withhold.Trade ReviewAn enchanting, endearing feature of this detailed and serious study of four films by Walter Ruttmann, Stan Brakhage, Naomi Uman and Martin Arnold is that it advances through a series of anecdotes, conversations, diversions, cross-references and speculations, capturing the spirit of the avant-garde in critical writing, a feat at once difficult and joyful. -- Brinda Bose * Telegraph India *Absence in Cinema is a dazzling, meticulously detailed, even revolutionary work. Remes's style is so assured with such a light and knowing touch that the reader is propelled through the book from first page to last. -- Wheeler Winston Dixon, author of Synthetic Cinema: The 21st Century Movie MachineThis theoretically sophisticated book about a set of exemplary avant-garde films during which there is either “nothing” to see or “nothing” to hear, or both, is a remarkably fun read. Justin Remes is a magician who makes Nothing in cinema Something! -- Scott MacDonald, editor of Avant-Doc: Intersections of Documentary and Avant-Garde CinemaAbsence in Cinema is about mysterious gaps and thwarted expectations. Starting from the idea that “every absence is a presence in disguise”, Justin Remes combines aesthetic analysis with psychology, neuroscience and Buddhist philosophy to construct a powerful theory of erasure in experimental film culture. Taking in invisible art, soundless music and wordless poetry, Absence in Cinema is as incisive and radical as its subject matter. -- Holly Rogers, author of Sounding the Gallery: Video and the Rise of Art MusicAn important, vital contribution to film studies that will appeal to all scholars, students, and (especially) teachers of cinema...Highly recommended. * Choice *A witty, richly detailed book... a delight to read. * Journal of Cinema and Media Studies *Table of ContentsAcknowledgmentsIntroduction: Voids1. Walter Ruttman and the Blind Film2. Stan Brakhage and the Birth of Silence3. Naomi Uman and the Peekaboo Principle4. Martin Arnold’s Disappearing ActConclusion: Nothing Is ImportantFilmographyNotesIndex
£999.99
Columbia University Press Hollis Frampton
Book SynopsisThis book is a groundbreaking and comprehensive account of Hollis Frampton’s work in its totality, from his earliest films through the unfinished epic Magellan.Trade ReviewAt long last, we have an authoritative guide to the work of one of experimental film’s most intriguing and polymathic figures. Through his meticulous study of Hollis Frampton’s unfinished Magellan project, Michael Zryd illuminates the filmmaker’s oeuvre as a whole, shedding light on the relationship among cinema, modernism, and epistemology. -- Erika Balsom, author of After Uniqueness: A History of Film and Video Art in CirculationHollis Frampton was a rigorous and complex individual, as well as a passionate and generous filmmaker/teacher. As a “Meta-Historian” of film, his radical work bridged the fields of cinema, poetry, mathematics, photography, xerography and early digital art. He made one of the defining films of the structural film canon, Zorns Lemma (1970), following it with the seminal, (anti-)autobiographical work nostalgia (1971). Magellan (1976-) was perhaps Frampton’s equivalent to Wagner’s Ring Cycle; an epic, wildly ambitious, calendrical film cycle lasting 36 hours that was only partially completed before his tragic premature death in 1984. Taking on the intimidating task of deciphering and decoding Frampton’s project from the fragments left behind, Zryd not only renders Magellan legible for film scholars but contextualizes and evaluates the entire project in hugely readable and nourishing prose. This book will surely become the authoritative text, not only on Magellan, but on Frampton’s oeuvre as a whole. -- Luke Fowler, filmmaker and artistMichael Zryd’s elegant treatise on Hollis Frampton’s late metafilms is the first to map the terrain of his accomplishment with commensurate intelligence and comprehensiveness. Zryd synoptically conjugates the master’s filmmaking, photography, and writing as an interlaced summa of the history of cinema and the most prescient bridge to its digital successors. -- David E. James, author of Power Misses II: Cinema, Asian and ModernZryd brings unmatched expertise to the task of resurrecting Hollis Frampton’s last major work. The strength of this book resides in its ability to make the complexity of this massive cultural and artistic undertaking legible. Even for scholars of avant-garde cinema and veteran viewers of Frampton’s films, it offers revelatory readings. -- Bruce Jenkins, coauthor of The Films of Andy Warhol Catalogue Raisonné: 1963-1965This groundbreaking book offers a richly layered map for navigating Frampton’s complex films and their intertexts. Devoting particular attention to the epic, encyclopedic, unfinished Magellan cycle, Zryd takes us on a deep dive into a speculative metahistory grounded in meticulous and expansive research. Frampton finds an articulate and generous interlocutor here: the energy of his last work endures through Zryd’s engagement with the idea of a cinema that moves past all limits, towards the infinite. -- Sarah Keller, author of Anxious Cinephilia: Pleasure and Peril at the MoviesThis authoritative guide to the avant-garde filmmaker/photographer/theorist has been needed for years; finally, 40 years after Frampton’s death, comes this comprehensive look at his life and career. * The Film Stage *The author of this volume mirrors his subject's all-embracing approach to the art-making task in hand, rigorously tracking the twists and turns in this remarkable artist's creations and the reverberations he had on the discourses of the day. * Leonardo *Examining not only the Magellan films but also Frampton’s writings and archival materials, Zryd provides a sort of Bloomsday Book for deciphering this vast project, marking an invaluable contribution to the study of this singular filmmaker. * Cineaste *An incredibly useful and necessary resource for anyone interested in synthesising Frampton’s theories and reconstructing his cinematic goals, which remain pertinent in the digital age. * Historical Journal of Film, Radio and Television *Table of ContentsAcknowledgmentsIntroduction: From the Chemistry of Cobalt to the Chemistry of Dirt1. A Brief Introduction to Frampton’s Films before Magellan2. An Introduction to Magellan3. Metahistory and the Archive: “Historical Necessity” and Tradition4. Encyclopedism, the Universe, and Everything5. Archeology: Millennial Allegories of Art, Representation, and Politics in the Camera Arts6. The ConstellationConclusion: Virtual Future MetahistoryNotesBibliographyIndex
£93.60
Columbia University Press Hollis Frampton
Book SynopsisThis book is a groundbreaking and comprehensive account of Hollis Frampton's work in its totality, from his earliest films through the unfinished epic Magellan.Trade ReviewAt long last, we have an authoritative guide to the work of one of experimental film’s most intriguing and polymathic figures. Through his meticulous study of Hollis Frampton’s unfinished Magellan project, Michael Zryd illuminates the filmmaker’s oeuvre as a whole, shedding light on the relationship among cinema, modernism, and epistemology. -- Erika Balsom, author of After Uniqueness: A History of Film and Video Art in CirculationHollis Frampton was a rigorous and complex individual, as well as a passionate and generous filmmaker/teacher. As a “Meta-Historian” of film, his radical work bridged the fields of cinema, poetry, mathematics, photography, xerography and early digital art. He made one of the defining films of the structural film canon, Zorns Lemma (1970), following it with the seminal, (anti-)autobiographical work nostalgia (1971). Magellan (1976-) was perhaps Frampton’s equivalent to Wagner’s Ring Cycle; an epic, wildly ambitious, calendrical film cycle lasting 36 hours that was only partially completed before his tragic premature death in 1984. Taking on the intimidating task of deciphering and decoding Frampton’s project from the fragments left behind, Zryd not only renders Magellan legible for film scholars but contextualizes and evaluates the entire project in hugely readable and nourishing prose. This book will surely become the authoritative text, not only on Magellan, but on Frampton’s oeuvre as a whole. -- Luke Fowler, filmmaker and artistMichael Zryd’s elegant treatise on Hollis Frampton’s late metafilms is the first to map the terrain of his accomplishment with commensurate intelligence and comprehensiveness. Zryd synoptically conjugates the master’s filmmaking, photography, and writing as an interlaced summa of the history of cinema and the most prescient bridge to its digital successors. -- David E. James, author of Power Misses II: Cinema, Asian and ModernZryd brings unmatched expertise to the task of resurrecting Hollis Frampton’s last major work. The strength of this book resides in its ability to make the complexity of this massive cultural and artistic undertaking legible. Even for scholars of avant-garde cinema and veteran viewers of Frampton’s films, it offers revelatory readings. -- Bruce Jenkins, coauthor of The Films of Andy Warhol Catalogue Raisonné: 1963-1965This groundbreaking book offers a richly layered map for navigating Frampton’s complex films and their intertexts. Devoting particular attention to the epic, encyclopedic, unfinished Magellan cycle, Zryd takes us on a deep dive into a speculative metahistory grounded in meticulous and expansive research. Frampton finds an articulate and generous interlocutor here: the energy of his last work endures through Zryd’s engagement with the idea of a cinema that moves past all limits, towards the infinite. -- Sarah Keller, author of Anxious Cinephilia: Pleasure and Peril at the MoviesThis authoritative guide to the avant-garde filmmaker/photographer/theorist has been needed for years; finally, 40 years after Frampton’s death, comes this comprehensive look at his life and career. * The Film Stage *The author of this volume mirrors his subject's all-embracing approach to the art-making task in hand, rigorously tracking the twists and turns in this remarkable artist's creations and the reverberations he had on the discourses of the day. * Leonardo *Examining not only the Magellan films but also Frampton’s writings and archival materials, Zryd provides a sort of Bloomsday Book for deciphering this vast project, marking an invaluable contribution to the study of this singular filmmaker. * Cineaste *An incredibly useful and necessary resource for anyone interested in synthesising Frampton’s theories and reconstructing his cinematic goals, which remain pertinent in the digital age. * Historical Journal of Film, Radio and Television *Table of ContentsAcknowledgmentsIntroduction: From the Chemistry of Cobalt to the Chemistry of Dirt1. A Brief Introduction to Frampton’s Films before Magellan2. An Introduction to Magellan3. Metahistory and the Archive: “Historical Necessity” and Tradition4. Encyclopedism, the Universe, and Everything5. Archeology: Millennial Allegories of Art, Representation, and Politics in the Camera Arts6. The ConstellationConclusion: Virtual Future MetahistoryNotesBibliographyIndex
£27.00
Columbia University Press The Cinema of Paul Thomas Anderson American
Book SynopsisThis book provides the most complete account of Paul Thomas Anderson’s career to date, encompassing his evolution from a self-anointed auteur to one of his generation’s most distinctive voices. It is at once an unconventional primer on Anderson’s films and a provocative reframing of what makes his work so essential.Trade ReviewThe Cinema of Paul Thomas Anderson is a feast of a book. With consummate clarity and inventiveness, Warren brings the films into rich, often fractious dialogue with one another. The results are extraordinarily illuminating. The entire book is infused with the kind of energy and delectable unpredictability that I associate with Anderson’s art at its best. Warren’s study shakes up conventional approaches to director-centered analysis in a fashion that will have lasting influence. -- George Toles, University of Manitoba, author of Paul Thomas AndersonEthan Warren should be commended for his razor-sharp analysis and rich knowledge of Anderson’s unique perspective and worldview, as well as Anderson’s contribution to American cinema. Warren leaves no stone unturned in this book, and his insightful enthusiasm makes these multifaceted films come alive through his careful study of Anderson’s life and influences. -- Whitney Crothers Dilley, author of The Cinema of Wes AndersonSmart and compelling. -- Christopher Schobert * The Film Stage *[Warren] brings his cinephilic eloquence to bear upon unknotting the enigmatic plots of, or characters in, Anderson’s films as well as Anderson’s ethos. To be sure, this is not a film theory text. Rather, Warren’s biography holds this boy genius (or brat) up to the light like a prism and slowly allows every refraction of Anderson to shine. -- Hannah Bonner * Senses of Cinema *Table of ContentsAcknowledgmentsForeword, by Lindsay ZoladzIntroduction1. On Paul Thomas Anderson’s Career to Date2. On Places and Spaces3. On Influence4. On Domesticity5. On Screenwriting6. On Gender Performance7. On Alienation Effects8. On Faith and Belief9. On Music Videos10. On HistoryNotesIndex
£80.00
University of Illinois Press Chicago New Media 19731992
Book SynopsisChicago New Media, 1973-1992 chronicles the unrecognized story of Chicago's contributions to new media art by artists at the University of Illinois at Chicago's Electronic Visualization Laboratory, the School of the Art Institute of Chicago, and at Midway and Bally games. It includes original scholarship of the prehistory, communities, and legacy of the city's new media output in the latter half of the twentieth century along with color plate images of video game artifacts, new media technologies, historical photographs, game stills, playable video game consoles, and virtual reality modules. The featured essay focuses on the career of programmer and artist Jamie Fenton, a key figure from the era, who connected new media, academia, and industry. This catalog is a companion to the exhibition Chicago New Media 1973-1992, curated by Jon Cates, and organized by Video Game Art Gallery in partnership with Gallery 400 and the Electronic Visualization Laboratory. It is part of Art Design Chicag
£15.19
Yale University Press Dreamlands
Book SynopsisA fascinating survey of pioneering work in experimental cinema and art from 1905 to the present day, revealing the high stakes and transformative potential of these forms
£42.75
Yale University Press Zhang Peili
Book SynopsisConsidered the first Chinese artist to work in video, Zhang Peili (b. 1957) manipulates perspective, close-ups, and framing to create astonishing recordings of banal repeated actions, such as breaking glass, reading, washing, shaving, and blowing bubble gum. He is a pioneering figure, experimenting with a video camera in the late 1980s, exploring digital formats in the early 2000s, and developing large-scale, immersive scenes today. Despite Zhang's pivotal role in the global history of video art, his oeuvre has received relatively little attention. This book, which includes insightful essays, color plates, and an illustrated chronology, is one of the few in-depth explorations in English of this important artist's work.Distributed for the Art Institute of ChicagoExhibition Schedule:The Art Institute of Chicago (03/31/1707/09/17)
£19.00
Yale University Press Emma and Edvard Looking Sideways
Book SynopsisIn this compelling publication, two masters come face-to-face when the works of Edvard Munch are juxtaposed against Gustave Flaubert's groundbreaking novel Madame Bovary. Munch's art is presented in stills taken from an elaborate video installation, Madame B (2014), created by Michelle Williams Gamaker and the internationally acclaimed cultural theorist, video artist, and curator Mieke Bal. Emma andEdvard Looking Sideways: Loneliness and the Cinematic explores the filmic aspect of Munch's art by combining contemporary art theory with Bal's own idiosyncratic way of looking at art directly and closely. The reader can reflect upon how we view each other in social situations and question what happens when we are denied visual dialogue. Distributed for MercatorfondsExhibition Schedule:Munch Museum, Oslo (02/04/1704/17/17)
£47.50
Yale University Press Emmanuel Van der Auwera A Certain Amount of
Book SynopsisAn illustrated survey of the work of contemporary Belgian artist Emmanuel Van der Auwera The work of Brussels-based Belgian artist Emmanuel Van der Auwera (b. 1982) provides cautionary tales and tools for navigating information in post-truth times, making use of emerging technologies, the architecture of mass media, and more traditional approaches to image making. This book is the first to document and explore his films, VideoSculptures, and Memento series. Distributed for MercatorfondsExhibition Schedule:Pinakothek der Moderne, Munich
£42.75
Yale University Press The Films of Andy Warhol Catalogue Raisonne
Book SynopsisThe provocative pop artist’s on-screen experiments, newly brought to light in this essential reference workTrade Review“What a treasure! It details the most courageous work of the 20th century’s greatest taboo-breaker — especially welcome as so many taboos need breaking all over again.”—Duncan Fallowell, Spectator ‘Books of the Year2022 Kraszna-Krausz Moving Image Book Award
£67.50
Yale University Press Bill Viola
Book SynopsisThe story of how a trinity of California-based creatives pushed the boundaries to re-imagine a radical Tristan und Isolde opera for our times, resulting in a sensational major body of artwork by visionary American artist Bill Viola
£33.25
University of California Press Media Archaeology
Book SynopsisIntroduces an archaeological approach to the study of media - one that sifts through the evidence to learn how media were written about, used, designed, preserved, and sometimes discarded. This book helps us understand how the media that predate interactive, digital forms were in their time contested, adopted and embedded in the everyday.Trade Review"A fascinating addition to work carried out in the social sciences." Information, Communication & SocietyTable of ContentsList of Illustrations Acknowledgments 1. Introduction: An Archaeology of Media Archaeology Erkki Huhtamo and Jussi Parikka Part I: Engines of/in the Imaginary 2. Dismantling the Fairy Engine: Media Archaeology as Topos Study Erkki Huhtamo 3. On the Archaeology of Imaginary Media Eric Kluitenberg 4. On the Origins of the Origins of the Influencing Machine Jeffrey Sconce 5. Freud and the Technical Media: The Enduring Magic of the Wunderblock Thomas Elsaesser Part II: (Inter)facing Media 6. The "Baby Talkie," Domestic Media, and the Japanese Modern Machiko Kusahara 7. The Observer's Dilemma: To Touch or Not to Touch Wanda Strauven 8. The Game Player's Duty: The User as the Gestalt of the Ports Claus Pias 9. The Enduring Ephemeral, or The Future Is a Memory Wendy Hui Kyong Chun Part III: Between Analogue and Digital 10. Erased Dots and Rotten Dashes, or How to Wire Your Head for a Preservation Paul DeMarinis 11. Media Archaeography: Method and Machine versus History and Narrative of Media Wolfgang Ernst 12. Mapping Noise: Techniques and Tactics of Irregularities, Interception, and Disturbance Jussi Parikka 13. Objects of Our Affection: How Object Orientation Made Computers a Medium Casey Alt 14. Digital Media Archaeology: Interpreting Computational Processes Noah Wardrip-Fruin 15. Afterword: Media Archaeology and Re-presencing the Past Vivian Sobchack Contributors Selected Bibliography Index
£27.00
University of California Press Vision Anew
Book SynopsisThe ubiquity of digital images has profoundly changed the responsibilities and capabilities of anyone and everyone who uses them. Presenting essays on photography and the moving image alongside engaging interviews with artists and filmmakers, the author offers an inspired assessment of the medium's ongoing importance in the digital era.Trade Review"Through its variety of voices, Vision Anew doesn't promote a new language to define "lens art," but dissects the languages that the medium itself has created." -- Taylor Dafoe The Brooklyn RailTable of ContentsAcknowledgments Foreword - Adam Bell Introduction - Charles Traub Part 1. From the Lens 1. Photography Is (1961) - Arthur Siegel 2. Keep It Simple Stupid, Just Make a Good Picture: The Basics of Photography (2012) - Gerry Badger 3. Excerpt from A New History of Photography: The World Outside and the Pictures in Our Heads (2008) - Ken Schles 4. Photographs about Photographs (2010) - Adam Bell 5. On Books and Photography (2012) - Ofer Wolberger, Jason Fulford, and Adam Bell 6. Stillness, Depth, and Movement Reconnected (2012) - Robert Bowen 7. A Little History of Photography Criticism; or, Why Do Photography Critics Hate Photography? (2010) - Susie Linfield 8. If You See Something, Say Something: Why We Need to Talk about and Teach Visual Literacy, Now (2014) - Marvin Heiferman Part 2. Vision and Motion 9. Excerpt from Vision in Motion (1947) - Laszlo Moholy-Nagy 10. Stillness (2008) - David Campany 11. The Annihilation of Time and Space (2004) - Rebecca Solnit 12. On Editing and Structure (2002) - Wolf Koenig 13. Flickering Screens (2008) - Ai Weiwei 14. A Lecture (1968) - Hollis Frampton 15. Flatness/Depth. Still/Moving. Photography/Cinema. (2012) - Grahame Weinbren 16. HD Vision (2012) - Bob Giraldi, Ethan David Kent, Christopher Walters, Charles Traub, and Adam Bell 17. Moving Away from the Index: Cinema and the Impression of Reality (2007) - Tom Gunning 18. Seeing around the Edge of the Frame (2001) - Walter Murch 19. Sensorial Cinema: Conjectures/Conversations (2014) - Scott MacDonald 20. Reconquering Space and the Screen (2005) - Pipilotti Rist and Doug Aitken 21. Looking and Being Looked At (2014) - Shelly Silver and Claire Barliant 22. It's about Time (2013) - Christian Marclay and Amy Taubin Part 3. Old Medium/New Forms 23. Photography and the Future (2010) - Tom Huhn 24. Machine-Seeing (2012) - Trevor Paglen and Aaron Schuman 25. There Is Only Software (2011) - Lev Manovich 26. Google Street View: The World Is Our Studio (2011) - Lisa Kereszi 27. Exploring Options (2011) - Alec Soth and Charles Traub 28. On (2014) - Charlie White 29. Sharing Makes the Picture (2012) - Barry Salzman 30. Posits and Questions (2014) - Fred Ritchin and Brian Palmer 31. Capture/Curate Touch/Play: Reality Is the New Fiction (2014) - Claudine Boeglin and Paul Pangaro 32. A Post-photographic Manifesto (2011) - Joan Fontcuberta (trans. Graham Thomson) 33. Feedback Manifesto (2010) - David Joselit 34. Ant!foto and the Antifoto Manifesto (2013) - Katja Stuke and Oliver Sieber 35. Creative Interlocutors: A Manifesto (1997) - Charles Traub Notes List of Contributors Credits
£27.00
University of California Press Sensational Movies
Book SynopsisTracing the rise and development of the Ghanaian video film industry between 1985 and 2010, this book examines video movies as seismographic devices recording a culture and society in turmoil. It also captures the process of film-making in Ghana.Trade Review"A thoughtful and theoretically powerful study, culminating two decades of fieldwork and movie-watching, of mediatization and materialization... An important contribution to the anthropology of religion, of popular media, of invented tradition, and of the cultural formation of the senses and experience." Anthropology Review Database "A rich account... the most sustained and theoretically sophisticated treatment of Christian popular culture in Africa to emerge to date and an important contribution to studies of religion and media." American Ethnologist "A fascinating and engaged ethnography of a crucial period in the Ghanaian film world." Marginalia "...will be regarded as both foundational and pioneering across multiple disciplines for years to come... it is how [Meyer] evaluates and hypothesizes the development of this cultural movement that places her work at the forefront of interdisciplinary research in Africa." Material ReligionTable of ContentsList of IllustrationsPrefaceAbbreviations Introduction 1 * The Video Film Industry 2 * Accra, Visions of the City 3 * Moving Pictures and Lived Experience4 * Film as Revelation 5 * Picturing the Occult6 * Animation 7 * Mediating Traditional Culture Epilogue Notes ReferencesFilmographyIndex
£27.00
University of California Press Paiks Virtual Archive
Book SynopsisUsing examples of works by Nam June Paik (1932-2006), the hugely influential Korean American artist who is considered the progenitor of video art, he author explores the relation between the artworks' concept and material, theories of musical performance and performativity, and the Bergsonian concept of duration.Trade Review““How do we care for the increasing number of artworks that challenge previously accepted notions of time and space? Hanna Hölling’s new book is an ambitious and clear-eyed attempt to provide an answer to that question, calling for a fundamental rethinking of curatorial and conservational notions of time and change in media artworks. . . . And yet, as Hölling makes clear, there is no going back when it comes to Paik. . . . Her combined museological and academic outlooks uniquely shape Paik’s Virtual Archive, a book that will likely become required reading in curatorial and preservation graduate programs, and which will also be of keen interest to scholars in the fields of modern and contemporary art and media studies.” * The Art Bulletin *“As an Art Historian and Conservator, Hölling offers a deep and lucid meditation on ephemerality that is both theoretical and practical. . . . She draws from a range of European theorists to offer her post-structural view of the archive as a place of potentials: ‘divorcing the archive from its exclusive “pastness,” one might conceive of the museum archive as a place where conservators and curators undertake the process of de – and re-activating artwork. . . . Hölling provides a compelling rationale for not dismissing attempts to re-imagine the artist’s concept that makes sense for precarious digital works that may gain a new, different life separate from their original coded existence.” * Visual Studies *"In a memorable opening to Paik’s Virtual Archive: Time, Change, and Materiality in Media Art, conservator and scholar Hanna Hölling recounts how she received the devastating news that Canopus, a laserdisc video work by Nam June Paik, had crashed down from a wall at her then-workplace. By taking this and other Paik “multimedia installations” as the book’s narrative thread– originally her PhD thesis–Hölling generously unpacks her theme: How does the identity of a multimedia artwork persist through every act of conservation, every replacement or renewal, every redisplay, and every re-interpretation, especially given its inexorable material decay along the way? . . . She hints at a radical future where any difference between art and archive become more and more equivocal in terms of authorship, curation, and preservation.” * Journal of the American Institute for Conservation *“Hölling's explanations...show how the practice of media art is integrated into the institutional conventions on the one hand, and how it can cause an institutional structural change on the other. The study is characterized by the fact that it not only describes the current change, but also makes theoretical suggestions in order to grasp the changing work identity of a multimedia installation between storage and presentation. Hölling's book also provides a fundamental access to the current debate within the contemporary restoration discussion, which has so far hardly been received in the German-speaking context. . . . Because, as Hölling shows convincingly, these works are constantly being reconstituted in the context of conservation practices and are accordingly incomplete.” * Kunst Chronik *"The author does not only offer an analysis of the installations in the traditional context of conservation of works of art, that is to say in the conditions of observation, measurement and analysis. Rather, it seeks to understand their conception in a regime of cultural, scientific and dynamic relationships. The book takes its originality from the museographic approach, which is broken down into three parts: the first, "Concept and Materiality", where artistic and performative media are mentioned; the second, “Time and Changeability”, which deals with questions of time and conservation; and the third, "Archive and Identity", where the concepts of the material and immaterial archive are advanced, with archival and museographic implications." * Critique d’art *Table of ContentsList of Illustrations Acknowledgments Introduction: Revisiting the Object PART I. CONCEPT AND MATERIALITY 1. Two Works 2. Conceptual and Material Aspects of Media Art 3. Musical Roots of Performed and Performative Media PART 2. TIME AND CHANGEABILITY 4. Zen for Film 5. Changeability and Multimedia Art 6. Time and Conservation 7. Heterotemporalities: Film Time, Video Time, and Paik Time PART 3. ARCHIVE AND IDENTITY 8. The Material and the Immaterial Archive 9. Archival Implications Conclusion: The Many Archai of Conservation and Curation Notes Bibliography Index
£46.75
University of California Press Foundational Films Early Cinema and Modernity in
Book SynopsisIn her authoritative new book, Maite Conde introduces readers to the crucial early years of Brazilian cinema. Focusing on silent films released during the First Republic (1889-1930),Foundational Films explores how the medium became implicated in a larger project to transform Brazil into a modern nation. Analyzing an array of cinematic forms, from depictions of contemporary life and fan magazines, to experimental avant-garde productions, Conde demonstrates the distinct ways in which Brazil's early film culture helped to project a new image of the country.Table of ContentsIllustrations Acknowledgments Introduction: The Modern Foundations of Brazilian Cinema Part I. Locating the Belle Epoque of Brazilian Cinema 1. Early Cinema and National Identity in Brazil: Mapping Out a Space of Analysis 2. Cinematic Vistas of Rio de Janeiro’s Worldly Modernity 3. Alternative Urban Projections in Early Narrative Films Part II. Hollywood Revisions 4. Film and Fandom in Cinearte Magazine 5. Beyond Hollywood: Reading Slave Relations in Humberto Mauro’s Lost Treasure (1927) Part III. The Rondon Commission: Producing New Visions of the Amazon 6. Picturing the Tropics: Forging a National Territory through Photography and Film 7. The Expedition Films of Major Luiz Thomaz Reis Part IV. Modernism and the Movies 8. Modernismo’s Literary Engagements with Film 9. The Cine-Poetry of Mário Peixoto’s Limite 10. Fabricating Discipline and Progress in São Paulo, Symphony of a Metropolis Postscript: Toward New Cinematic Foundations Notes Filmography Bibliography Index
£27.00
University of California Press Contemporary Art and the Digitization of Everyday
Book SynopsisDigitization is the animating force of everyday life. Rather than defining it as a technology or a medium, Contemporary Art and the Digitization of Everyday Life argues that digitization is a socio-historical process that is contributing to the erosion of democracy and an increase in political inequality, specifically along racial, ethnic, and gender lines. Taking a historical approach, Janet Kraynak finds that the seeds of these developments are paradoxically related to the ideology of digital utopianism that emerged in the late 1960s with the rise of a social model of computing, a set of beliefs furthered by the neo-liberal tech ideology in the 1990s, and the popularization of networked computing. The result of this ongoing cultural worldview, which dovetails with the principles of progressive artistic strategies of the past, is a critical blindness in art historical discourse that ultimately compromises art's historically important role in furthering radical democratic aims.Table of ContentsAcknowledgments Introduction. Digitization and Anti-Democracy: The Perils of Digital Utopianism 1. Network Effects: Networked Centralities and Political Marginalization 2. Collaboration and the Hive Mind: Social Networks and the Gendering of the Economy 3. Therapeutic Participation and the Museological User: The Museum in the Age of Surveillance Capitalism 4. Modularity and the Alterities of Search: Racialization, Difference, and Computational Systems 5. Audible Pasts and Imaginary Futures: On Silence and the Technological Imaginary 6. In Lieu of a Conclusion Notes List of Illustrations Index
£46.75
University of California Press University Babylon
Book SynopsisFrom the silent era to the present, film productions have shaped the way the public views campus life. Collaborations between universities and Hollywood entities have disseminated influential ideas of race, gender, class, and sexual difference. Even more directly, Hollywood has drawn writers, actors, and other talent from ranks of professors and students while also promoting the industry in classrooms, curricula, and film studies programs. In addition to founding film schools, university administrators have offered campuses as filming locations. In UniversityBabylon, CurtisMarez argues that cinema has been central to the uneven incorporation and exclusion of different kinds of students, professors, and knowledge. Working together, Marez argues, film and educational institutions have produced a powerful ideology that links respectability to academic merit in order to marginalize and manage people of color. Combining concepts and methods from critical university studies, ethnic studiTrade Review"Marez convincingly delineates how a particular idea of the university has served—and continues to serve—to define belonging and merit on college campuses in terms of white supremacy and patriarchal heteronormativity." * American Literary History *
£22.50
University of California Press Drone Art The Everywhere War as Medium
Book SynopsisWhat happens when a drone enters a gallery or appears on screen? What thresholds are crossed as this weapon of war occupies everyday visual culture? These questions have appeared with increasing regularity since the advent of the War on Terror, when drones began migrating into civilian platforms of film, photography, installation, sculpture, performance art, and theater. In this groundbreaking study, Thomas Stubblefield attempts not only to define the emerging genre of drone art but to outline its primary features, identify its historical lineages, and assess its political aspirations. Richly detailed and politically salient, this book is the first comprehensive analysis of the intersections between drones, art, technology, and power.Trade Review"In Drone Art, [Stubblefield] ruminates on the profound implications of a technology that can, by cross-referencing historical patterns, provide ‘limitless temporal parameters.'" * London Review of Books *"Stubblefield manages to masterfully intertwine art criticism and critical theory with some remarkably lucid explanations of the actual operations of drone warfare." * Cultural Critique *Table of ContentsAcknowledgments Introduction: The Perverse Symmetry of Drone Art 1. Signature Strikes and World-Making 2. How to Photograph a Drone: The Nesting Logic of Vertical Empire 3. From the Ground Below: Spotting Industries, Smartphones, and the Post-Panopticism of Drones 4. The Animal Remainder: Excavating Nonhuman Life from Contemporary Drones 5. Showing Sensing: Drone Space and Postmedia in Film and Theater Conclusion: Supersymmetry, Capital, and War Notes Bibliography List of Illustrations Index
£63.90
University of California Press Drone Art The Everywhere War as Medium
Book SynopsisWhat happens when a drone enters a gallery or appears on screen? What thresholds are crossed as this weapon of war occupies everyday visual culture? These questions have appeared with increasing regularity since the advent of the War on Terror, when drones began migrating into civilian platforms of film, photography, installation, sculpture, performance art, and theater. In this groundbreaking study, Thomas Stubblefield attempts not only to define the emerging genre of drone art but to outline its primary features, identify its historical lineages, and assess its political aspirations. Richly detailed and politically salient, this book is the first comprehensive analysis of the intersections between drones, art, technology, and power.Trade Review"In Drone Art, [Stubblefield] ruminates on the profound implications of a technology that can, by cross-referencing historical patterns, provide ‘limitless temporal parameters.'" * London Review of Books *"Stubblefield manages to masterfully intertwine art criticism and critical theory with some remarkably lucid explanations of the actual operations of drone warfare." * Cultural Critique *Table of ContentsAcknowledgments Introduction: The Perverse Symmetry of Drone Art 1. Signature Strikes and World-Making 2. How to Photograph a Drone: The Nesting Logic of Vertical Empire 3. From the Ground Below: Spotting Industries, Smartphones, and the Post-Panopticism of Drones 4. The Animal Remainder: Excavating Nonhuman Life from Contemporary Drones 5. Showing Sensing: Drone Space and Postmedia in Film and Theater Conclusion: Supersymmetry, Capital, and War Notes Bibliography List of Illustrations Index
£27.00
University of California Press Andre Bazin on Adaptation
Book SynopsisAdaptation was central to André Bazin's lifelong query: What is cinema? Placing films alongside literature allowed him to identify the aesthetic and sociological distinctiveness of each medium. More importantly, it helped him wage his campaign for a modern conception of cinema, one that owed a great deal to developments in the novel. The critical genius of one of the greatest film and cultural critics of the twentieth century is on full display in this collection, in which readers are introduced to Bazin's foundational concepts of the relationship between film and literary adaptation.Expertly curated and with an introduction by celebrated film scholar Dudley Andrew, the book begins with a selection of essays that show Bazin's film theory in action, followed by reviews of films adapted from renowned novels of the day (Conrad, Hemingway, Steinbeck, Colette, Sagan, Duras, and others) as well as classic novels of the nineteenth century (Bronte, Melville, Tolstoy, Balzac, Hugo, Zola, Stendhal, and more). As a bonus, two hundred and fifty years of French fiction are put into play as Bazin assesses adaptation after adaptation to determine what is at stake for culture, for literature, and especially for cinema. This volume will be an indispensable resource for anyone interested in literary adaptation, authorship, classical film theory, French film history, and André Bazin's criticism.Trade Review"One must be cravenly grateful for these tasty packages of Bazin that Dudley Andrew is so thoughtfully arranging for us." * Cineaste *Table of ContentsContents Preface Acknowledgments Introduction: André Bazin’s Position in Cinema’s Literary Imagination PART ONE. ADAPTATION IN THEORY 1. Preview: A Postwar Renewal of Novel and Cinema 2. André Malraux, Espoir, or Style in Cinema 3. Cinema as Digest 4. Critical Stance: Defense of Adaptation 5. Cinema and Novel 6. Literature, is it a Trap for Cinema? 7. A Question on the Baccalaureate Exam: The Film-Novel Problem 8. Lamartine, Jocelyn: Should you Scrupulously Adapt such a Poem? 9. Roger Leenhardt has Filmed a Novel he never Wrote 106 10. Alexandre Astruc’s Les Mauvaises Rencontres (Bad Liaisons): Better than a Novel 11. Colette, Le Blé en herbe: Uncertain Fidelity 12. Rereading Stendhal’s Le Rouge et le Noir (The Red and the Black) through a Camera Lens 13. Of Novels and Films: M. Ripois with or without Nemesis 14. Stendhal’s Mina de Vanghel, Captured beyond Fidelity 15. Mina de Vanghel: More Stendhalian than Stendhal PART TWO. ADAPTING CONTEMPORARY FICTION A. Best Sellers from Abroad 16. On William Saroyan’s The Human Comedy 17. Billy Wilder, The Lost Weekend 18. Hollywood Can Translate Faulkner, Hemingway, and Caldwell 19. John Ford, How Green Was My Valley 20. John Ford, The Grapes of Wrath, from Steinbeck 21. John Ford, Tobacco Road, from Erskine Caldwell 22. Theodore Dreiser’s An American Tragedy becomes A Place in the Sun 23. D. H. Lawrence, Lady Chatterley’s Lover 24. Has Hemingway influenced Cinema? 25. Ernest Hemingway, The Snows of Kilimanjaro 26. Ernest Hemingway, A Farewell to Arms 27. Graham Greene’s The Power and the Glory becomes John Ford’s The Fugitive 28. Graham Greene, Brighton Rock 29. Graham Greene and Carol Reed, The Fallen Idol 30. Graham Greene, The Heart of the Matter 31. Joseph Conrad, Outcast of the Islands, filmed by Carol Reed 32. Arthur Miller’s The Crucible and Nikos Kazantzakis’ He Who Must Die are now Two Great French Films 33. Franz Kafka on Screen: Clouzot’s Les Espions (The Spies) B. Fiction from France 34. Avec André Gide, by Marc Allégret 35. The Universe of Marcel Aymé on Screen: La Belle Image 36. Colette, Le Blé en herbe: The Ripening Seed . . . has Matured 37. Marguerite Duras, Barrage contre la Pacifique, adapted by René Clément 38. Françoise Sagan, Bonjour Tristesse, adapted by Otto Preminger PART THREE: ADAPTING TO THE CLASSICS A. The Nineteenth-Century Novel from Abroad 39. Charlotte Brontë, Jane Eyre 40. Charles Dickens, Oliver Twist 41. Nikolai Gogol, The Overcoat 42. Herman Melville, Moby Dick 43. Stephen Crane, The Red Badge of Courage 44. Leo Tolstoy, Anna Karenina 45. Fyodor Dostoevsky, The Brothers Karamazov 46. Dostoevsky, Crime and Punishment, alongside Tolstoy, War and Peace B. French Classics on the French Screen 47. Abbé Prévost, Manon Lescaut, adapted by Clouzot 48. Honoré de Balzac, Eugénie Grandet 49. Stendhal, Le Chartreuse de Parme (The Charterhouse of Parma) 50. Stendhal, Le Rouge et le Noir (The Red and the Black): Tastes and Colors 51. Victor Hugo, Les Misérables 52. Victor Hugo, Notre-Dame de Paris, alongside Jules Verne, Michel Strogoff 53. Zola and Cinema: Pour une nuit d’amour (For a Night of Love) 54. Émile Zola, Thérèse Raquin, adapted by Marcel Carné 55. Émile Zola’s La Bête humaine becomes Fritz Lang’s Human Desire 56. Émile Zola’s L’Assommoir becomes René Clément’s Gervaise 57. Guy de Maupassant, Une vie (A Life), adapted by Alexandre Astruc 58. Maupassant Stories adapted by Max Ophüls: Le Plaisir 59. Maupassant Stories adapted by André Michel: Trois femmes 60. French Cinema faces Literature addendum. two long essays on adaptation, translated by hugh gray 61. Journal d’un curé de campagne and the Stylistics of Robert Bresson 62. In Defense of Mixed Cinema Appendix: Chronological List of Articles Index of Films Index of Proper Names Index of Topics and Concepts
£64.00
University of California Press The Night Albums
Book SynopsisWe live in an era of abundant photography. Is it then counterintuitive to study photographs that disappear or are difficult to discern? Kate Palmer Albers argues that it is precisely this current cultural moment that allows us to recognize what has always been a basic and foundational, yet unseen, condition of photography: its ephemerality. Through a series of case studies spanning the history of photography, The Night Albums takes up the provocations of artists who collectively redefine how we experience visibility. From the protracted hesitancies of photography's origins, to conceptual and performative art that has emerged since the 1960s, to the waves of technological experimentation flourishing today, Albers foregrounds artists who offer fleeting, hidden, conditional, and future modes of visibility. By unveiling how ephemerality shapes the photographic experience, she ultimately proposes an expanded framework for the medium.Trade Review"Albers brilliantly encourages us to revisit the ephemerality of recent photographic works before returning to ‘the foundation’ . . . Albers tells us to wait in the scene—be it the clinic or gallery—to find out what’s moving, what’s missing, what’s pulsing inside us.” * Cleveland Review of Books *Table of ContentsIntroduction I Ephemerality, over Time II Ways of Seeing and "Live" Photography: Four Case Studies III Future Visibility IV Revised Foundations Coda Acknowledgments Notes List of Illustrations Index
£999.99
University of California Press At the Edges of Sleep
Book SynopsisA free open access ebook is available upon publication. Learn more at www.luminosoa.org. Many recent works of contemporary art, performance, and film turn a spotlight on sleep, wresting it from the hidden, private spaces to which it is commonly relegated. At the Edges of Sleep considers sleep in film and moving image art as both a subject matter to explore onscreen and a state to induce in the audience. Far from negating action or meaning, sleep extends into new territories as it designates ways of existing in the world, in relation to people, places, and the past. Defined positively, sleep also expands our understanding of reception beyond the binary of concentration and distraction. These possibilities converge in the work of Thai filmmaker and artist Apichatpong Weerasethakul, who has explored the subject of sleep systematically throughout his career. In examining Apichatpong's work, Jean Ma brings together an array of interlocutorsfrom Freud to Proust, George Méliès to Tsai Ming-
£27.00
Harvard University Press Understanding Korean Webtoon Culture
Book SynopsisThe rise of webtoons has altered the Korean cultural market due to the growth of transmedia storytellingthe flow of a story from the original text to various other platforms, such as films, television, and games. Understanding Korean Webtoon Culture demonstrates the dynamics between structural forces and textual engagement in global media.Trade ReviewAs the first book-length study of webtoons, Jin’s monograph has a lot to offer to scholars and students interested in cultural globalization and media convergence in relation to digital technologies. The book is well-written and a joy to read. Any reader, with or without relative academic background, can benefit from it. -- Haixia Man * International Journal of Communication *
£32.26
Rutgers University Press Extreme Cinema The Transgressive Rhetoric of
Book SynopsisFilm festival premieres regularly make international headlines for their shockingly graphic depictions of sex and violence. Film critics and scholars alike often regard these movies as the work of visionary auteurs. In this provocative new book, Mattias Frey offers a different perspective, exposing how these films are calculated products, designed to achieve global notoriety.Trade Review"Extreme Cinema is an outstanding addition to the body of works that investigate the intersection of art cinema, sex, and violence and the intricate relationships among the three."— Cindy Hing-Yuk Wong, College of Staten Island, CUNY "Extreme Cinema enlightens the reader by example … Frey has given film connoisseurs a text book worthy of examination that may even inspire self examination."— Genreonline.net "[The book] arrives at a juncture in which one form of extreme cinema studies is perhaps at its end. Frey convincingly demonstrates how scholars’ appeal to an ideal spectator, use of unrefined affect theories, and overemphasis on aesthetics often generates tautological conclusions."— Canadian Review of Comparative Literature "Frey’s well researched and precise discursive analysis on extreme cinema laid the first stone to further industrial and aesthetic investigations."— Historical Journal of Film, Radio and Television "Extreme Cinema delves into what it is that motivates these film makers and our general fascination with this body of film works that exploit sex, violence, and art in an almost voyeuristic way."— Horrornews.net “In this lively, detailed analysis of ‘taboo cinema,’ Mattias Frey views ‘extreme cinema’ from an entirely new angle, offering rich insights into contemporary violence and cruelty on the screen.”— Wheeler Winston Dixon, author of Black and White Cinema: A Short HistoryTable of ContentsAcknowledgmentsIntroduction1 Transgression and Distinction: Filmmaker Discourses2 The Aesthetic Embrace and the Cynicism Criticism: Reception Discourses3 The Rhetoric and Role of Film Festivals4 Discourses and Modes of Distribution5 The Interpretations of Regulation6 The Added Value of International Distribution7 Sex, Violence, and Self-Exoticization8 Aesthetic Innovation and the Real: Academic Debate over Sexually Graphic Art Films9 A Discursive Approach to Hardcore Art CinemaAfterwordNotesSelect BibliographyIndex
£28.80
University of Minnesota Press Touch
Book Synopsis
£19.79
University of Minnesota Press The Quay Brothers
Book SynopsisThe complex, special power of the Quay Brothers' puppet animation poetics.Trade Review"Suzanne Buchan’s book offers a welcome introduction to the art of the Brothers Quay, with an emphasis on a detailed reading of their animated film, Street of Crocodiles. The Quay Brothers offers engaging descriptions and thought-provoking insights into the Quays’ art specifically and into the art of animation generally." —Thomas Lamarre, McGill University"To use the term Buchan cites from Joyce, this is a fascinating transluding of the Quays’ work into prose. Based on several years’ affectionate acquaintance with the pair, The Quay Brothers is entertaining, often innovative, and highly evocative. A great book on the Quays and on the British scene since the 1970s, it also opens up new avenues for animation and film studies." —Sean Cubitt, University of MelbourneTable of ContentsContents Acknowledgments Introduction 1. Authentic Trappers in Metaphysical Playrooms 2. Palimpsests, Fragments, Vitalist Affinities 3. Traversing the Esophagus 4. Puppets and Metaphysical Machines 5. Negotiating the Labyrinth 6. The Secret Scenario of Soundscapes 7. The Animated Frame and Beyond 8. Animistic Architectures Notes Bibliography Works of the Quay Brothers Index
£19.79
University of Minnesota Press Scenes of Projection
Book SynopsisTrade Review“In Shadows of Enlightenment, Jill Casid sets herself no less a task than the rethinking of modernity and the formation of the European subject. Concerned with the psychic, affective, and material powers of projection and propelled by queer, feminist, and postcolonial revisions of psychoanalysis, Casid ultimately takes her readers from the mythic origins of representation to exemplary instances of contemporary art. And in the course of traversing the history and charting the geography of projection, even as she tarries with darkness, she produces nothing short of illumination.” —Lisa Saltzman, Bryn Mawr CollegeTable of ContentsContentsIntroduction: Shadows of Enlightenment 1. Paranoid Projection and the Phantom Subject of Reason2. Empire through the Magic Lantern3. Empire Bites Back4. Along Enlightenment’s Cast Shadows5. Following the RainbowConclusion. Queer Projection: Theses on the “Future of an Illusion”AcknowledgmentsNotesIndex
£20.89
University of Minnesota Press Brutal Vision
Book SynopsisHow spectacular visions of physical suffering in post–World War II Italian neorealist films redefined moviegoing as a form of political actionTrade Review"If there were ever any doubts about neorealism’s enduring power to generate fine scholarship, Karl Schoonover’s book should lay them to rest. To this most exhaustively studied body of films, the author brings a doubly original perspective-both geopolitically oriented and ethically charged. The result is a theory of spectatorship that goes far toward accounting for neorealism’s pivotal role in the history of film." —Millicent Marcus, author of After Fellini: National Cinema in the Postmodern Age"While many scholars have struggled to describe the film movement known as neorealism, Brutal Vision advances a different and intellectually productive approach to a vexed subject. The innovative book undertakes a multi-faceted rewriting of post World War II cinema history in a national and international context." —Marcia Landy, author of Stardom, Italian Style: Screen Performance and Personality in Italian Cinema"This challenging study—with its surprising, persuasive new connections—offers many fresh insights into familiar films. Highly recommended." —CHOICE"Karl Schoonover’s study is a thoroughly worthwhile reconsideration of Italian neorealism. The text accomplishes an always valuable and always challenging objective, namely, that of offering a new critical perspective on a critically well-trodden field. In a seamless blend of theoretical, formal, and archival analysis, Schoonover proposes a future itinerary for scholarly work on neorealism." —Italian Culture"After reading Brutal Vision, it will not be possible to observe the pain of Italian cinematic bodies without thinking of the geopolitical antes being waged on Italy’s body-politic during the second half of the twentieth century. However, the importance of Schoonover’s book goes well beyond Italian borders. Brutal Vision is a convincing warning against a cinema of pity, and a cautionary tale on the risks of any representational mode founded on the spectacularization and exploitation of suffering. In an age of perpetual humanitarian crisis, Brutal Vision is of utmost urgency and relevancy." —Journal of Italian Cinema & Media"Schoonover’s study severs neorealism from the dominant debate on its centrality to Italian national identity and film history, and reimagines it on a global plane. Distinctively, however, Schoonovers pursues not a discussion of neorealism’s influence on past or present world film styles, but bringing and international and transnational perspective to bear on its geopolitical context." —ScreenTable of ContentsContentsAcknowledgmentsIntroduction1. An Inevitably Obscene Cinema: Bazin and Neorealism2. The North Atlantic Ballyhoo of Liberal Humanism3. Rossellini’s Exemplary Corpse and the Sovereign Bystander4. Spectacular Suffering: De Sica’s Bodies and Charity’s Gaze5. Neorealism Undone: The Resistant Physicalities of the Second GenerationConclusionNotesIndex
£19.79
University of Minnesota Press Ferocious Reality
Book SynopsisTrade Review"Werner Herzog has long avowed that he hates documentaries and does not participate in the tradition. Eric Ames’s wonderful book lets us in on an open secret: ‘Herzog has. . . added to the vitality and visibility of documentary cinema internationally for more than four decades.’ I would go further: the best of the films that Herzog has made over his long career have been those that, if not called documentaries, cannot be labeled fictions. Werner Herzog’s challenges to the documentary tradition have inevitably become part of that tradition. This book shows us how." —Linda Williams, University of California, Berkeley"Ferocious Reality is excellent. The book centers on how Herzog consistently undertakes an exploration of the limits of documentary cinema and engages with it as performative behavior, challenging its boundaries. Eric Ames analyzes a broad range of Herzog’s films and engages with an array of important theoreticians of documentary cinema. This book is first-rate and innovative." —Brad Prager, author of The Cinema of Werner Herzog: Aesthetic Ecstasy and TruthTable of ContentsContentsAcknowledgmentsThe Minnesota DeclarationIntroduction: Werner Herzog, Documentary Outsider1. Sensational BodiesGame in the SandHandicapped FutureLand of Silence and DarknessWodaabe2. Moving LandscapesThe Dark Glow of the MountainsFata Morgana, La SoufrièreLessons of DarknessWheel of Time3. Ecstatic JourneysHuie’s SermonBells from the DeepPilgrimage4. Baroque VisionsThe Great Ecstasy of Woodcarver SteinerDeath for Five VoicesGod and the Burdened5. Cultural PoliticsFitzcarraldoBallad of the Little SoldierTen Thousand Years OlderThe White Diamond6. ReenactmentsLittle Dieter Needs to FlyWings of HopeRescue Dawn7. Autobiographical ActsI Am My FilmsPortrait Werner HerzogMy Best FiendGrizzly ManConclusion: Herzog’s VéritéEncounters at the End of the WorldThe Cave of Forgotten DreamsNotesIndex
£19.79
University of Minnesota Press Night and Fog
Book SynopsisTrade Review"I do not hesitate to call Sylvie Lindeperg’s marvelously detailed study “Night and Fog”: A Film in History a major work of contemporary film historical scholarship. . . . [It] affords genuinely original historical and aesthetic insights . . . in finely wrought prose."—Stuart Liebman, Cineaste"The ultimate authoritative source on Alain Resnais’ groundbreaking Holocaust film Night and Fog (Nuit et brouillard, 1955). [Lindeperg’s] research is remarkable, and the book will be invaluable to those working in European history as well as film. This volume does remarkable service to Night and Fog, a film that in the immediate aftermath of the war challenged viewers to remember the victims of the Holocaust."—CHOICE"Night and Fog gave me a context, a literal frame of art through which I could watch the unwatchable. Slyvie Lindeperg’s book does something similar for the film itself, and readers willing to tackle it and the film will find the effort well rewarded."—Documentary Magazine"The definitive study of Night and Fog... Historians should also appreciate it as an excellent example of the type of historical work close attention to film makes possible."—Journal of Modern History"Sylvie Lindeperg’s masterful Night and Fog: A Film in History is the definitive work of reference on Resnais’s classic documentary. We are fortunate to have an excellent English translation of this important and beautifully written French work."—H-France ReviewsTable of ContentsContentsForewordJean-Michel FrodonAcknowledgmentsIntroductionAbbreviationsPrologue: Olga Wormser-Migot, the Missing LinkPart I. Inception: A Breakdown of Gazes1. The “Invisible Authority”: The Stakes of a Commission2. The “ Merchants of Shadows”: A French–Polish Coproduction3. A Journey to the East: Research and Documentation4. Writing Four Hands5. The Adventurous Gaze6. The Darkness of the Editing Room7. Suffocated Words: A Lazarian Poetry8. Eisler’s Neverending ChantPart II. Passage and Migration9. Tug of War with the Censors10. The Cannes Confusion: Dissecting a Scandal11. Germany Gets Its First Look12. Exile from Language: Paul Celan, Translator13. Translation Battles in the GDR14. A Portable Memorial15. Shifting Perspectives: An Educational Institution16. Constructing the Cinephilic GazeEpilogue: Olga’s TombNotesIndex
£19.79
University of Minnesota Press The Heretical Archive
Book SynopsisTrade Review"Inspired by other scholars who have brought the phenomenological method to cinema, Domietta Torlasco writes beautifully of her own encounters with films and images, drawing the reader into her own vision as she elucidates its implication in a constellation of deep thought. The book’s insights are as fresh and profound as its writing, in other words: at its best moments, it is a real tour de force that is an extended reflection rather than a series of discrete observations." —Amy Villarejo, author of Film Studies: The Basics "Digital technology allows once quiescent cinemagoers to dismantle and refashion previously inviolable products of the film industry. Torlasco sees the potential for politically transformative thinking in such acts. She argues that our capacity to imagine alternative futures may depend on our ability to reconfigure the virtual archive of filmic memory. Part philosophical reflection, part manifesto, Torlasco's book is essential reading for anyone wishing to steer a critical theory of audiovisual art between the Scylla and Charybdis of technophilia and artworldspeak. " —Victor Burgin, author of The Remembered FilmTable of ContentsContentsAcknowledgmentsIntroduction1. Against House Arrest: Antigone and the Impurity of the Death Drive2. Digital Impressions: Writing Memory after Agnès Varda3. Folding Time: Toward a New Theory of Montage4. Archiving Disappearance: From Michelangelo Antonioni to New MediaNotesIndex
£17.99
University of Minnesota Press Nauman Reiterated
Book SynopsisTrade Review"It had been Nauman’s genius to have reversed Minimalism’s conception of sculpture, from a phenomenological idealism to a post-utopian subjectivity in which the conditions of surveillance, control and exertion are recognized as central in defining experience in the present. And Janet Kraynak’s brilliant study is the first to have given Nauman’s aesthetic ambitions an adequately theorized interpretive apparatus." —Benjamin H.D. Buchloh, Harvard University"Nauman Reiterated is cogent and original, based on extensive and unique primary research, and theorized in a distinct, coherent, and compelling way. Janet Kraynak, a recognized expert on Nauman’s work, deftly navigates the discourses of academic scholarship and the gallery/art-world, using a nuanced and detailed set of sources." —Liz Kotz, author of Words to be Looked At: Language in 1960s ArtTable of ContentsContentsAcknowledgmentsIntroduction: To Reiterate Nauman1. Dangerous Variations2. The Failure to Communicate3. The World Is Heard Differently: On Sound and a New Culture of Recording4. The Screen Is Empty: Nauman Performs the Recorded Image5. Dependent ParticipationEpilogue: Interactivity to What Ends?NotesIndex
£21.59
University of Minnesota Press The Man Who Invented Rock Hudson
Book SynopsisTrade Review "Those who think Hollywood’s current predatory political scene and celebrity partner-swapping activities are new phenomena would be wise to dive into this tell-all tale of Henry Willson, an agent who became a major star maker to actors like Rock Hudson, Tab Hunter, and Troy Donahue in the 1950s."—Publishers Weekly"A trove of enticing gossip and little-known facts . . . Hofler chronicles Willson’s life of privilege. He roams through the origins of his paradoxical right-wing attitudes, early intrigues to obtain sexual power, conspiracies hatched in glamorous fabled nightclubs, the Trocadero, the Macombo. He describes nasty sexual antics among powerful studio heads."—Los Angeles Times "The Man Who Invented Rock Hudson is a gritty, often coarse but well-researched biography of a tough Hollywood power broker famous for his ‘Adonis factory.’"—Salon.com "Hofler, a Variety editor and reporter, is well matched to this shark-tank of a life." —Washington Post
£15.19
University of Minnesota Press Necromedia Posthumanities
Book SynopsisTrade Review"He provides a credible account of the unavoidability of death presence even in an over-technological existence."—Aurelio Cianciotta, Neural "Necromedia is very readable and not too long in length, it delivers a serious if disturbing message about our thanatophobic culture, in a strangely beguiling manner. O’Gorman is not afraid to mix theory with quite personal material and has the skill as a writer to do so effectively."—The Year’s Work in Critical and Cultural Theory"He provides a credible account of the unavoidability of death presence even in an over-technological existence."—Aurelio Cianciotta, Neural "Necromedia is very readable and not too long in length, it delivers a serious if disturbing message about our thanatophobic culture, in a strangely beguiling manner. O’Gorman is not afraid to mix theory with quite personal material and has the skill as a writer to do so effectively."—The Year’s Work in Critical and Cultural Theory"What Necromedia offers, and this may reflect the author’s being an artist and practitioner as well as a theorist, is a sense of theory being used for genuine engagement in the world and with its problems, and possibilities."—Technology and Culture"An ideal book for posthumanism."—Configurations"A powerful and deeply resonating argument in defense of an applied media theory founded in a techno-neopolitics of things, leaving the future open to ethically responsible reinvention. From dust to data, indeed."—Science Fiction, Film, and TelevisionTable of ContentsContentsIntroduction1. Necromedia Theory and Posthumanism2. Border Disorder3. Telephone, Pager, Two-Way Speaker, and Other Technologies of Betrayal4. Dreadmill5. Angels in Digital Armor: Technoculture, Terror Management, and the Antihero6. Cycle of Dread7. Speculative Realism Unchained: A Love Story8. Myth of the Steersman9. Digital Care, Curation, and Curriculum: On Applied Media Theory10. Roach Lab11. From Dust to Data: On Existential Terror and Horror PhilosophyAcknowledgmentsNotesBibliographyIndex
£61.20
Fordham University Press Expanded Cinema
Book SynopsisFiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood's influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood's insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today's hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include the paleocybernetic age, intermedia, the artist as desigTable of ContentsList of Illustrations | ix Introduction to the Fiftieth Anniversary Edition | xiii Introduction by R. Buckminster Fuller | 15 Inexorable Evolution and Human Ecology by R. Buckminster Fuller | 37 Preface | 41 Part One: The Audience and the Myth of Entertainment | 45 Radical Evolution and Future Shock in the Paleocybernetic Era | 50 The Intermedia Network as Nature | 54 Popular Culture and the Noosphere | 57 Art, Entertainment, Entropy | 59 Retrospective Man and the Human Condition | 66 The Artist as Design Scientist | 70 Part Two: Synaesthetic Cinema: The End of Drama | 75 Global Closed Circuit: The Earth as Software | 78 Synaesthetic Synthesis: Simultaneous Perception of Harmonic Opposites | 81 Syncretism and Metamorphosis: Montage as Collage | 84 Evocation and Exposition: Toward Oceanic Consciousness | 92 Synaesthetics as Kinaesthetics: The Way of All Experience | 97 Mythipoeiai: The End of Fiction | 106 Synaesthetics and Synergy | 109 Synaesthetic Cinema and Polymorphous Eroticism | 112 Synaesthetic Cinema and Extra-Objective Reality | 122 Image-Exchange and the Post-Mass Audience Age | 128 Part Three: Toward Cosmic Consciousness | 135 2001: The New Nostalgia | 139 The Stargate Corridor | 151 The Cosmic Cinema of Jordan Belson | 157 Part Four: Cybernetic Cinema and Computer Films | 179 The Technosphere: Man/Machine Symbiosis | 180 The Human Bio-Computer and His Electronic Brainchild | 183 Hardware and Software | 185 The Aesthetic Machine | 189 Cybernetic Cinema | 194 Computer Films | 207 Part Five: Television as a Creative Medium | 257 The Videosphere | 260 Cathode-Ray Tube Videotronics | 265 Synaesthetic Videotapes | 281 Videographic Cinema | 317 Closed-Circuit Television and Teledynamic Environments | 337 Part Six: Intermedia | 345 The Artist as Ecologist | 346 World Expositions and Nonordinary Reality | 352 Cerebrum: Intermedia and the Human Sensorium | 359 Intermedia Theatre | 365 Multiple-Projection Environments | 387 Part Seven: Holographic Cinema: A New World | 399 Wave-Front Reconstruction: Lensless Photography | 400 Dr. Alex Jacobson: Holography in Motion | 404 Limitations of Holographic Cinema | 407 Projecting Holographic Movies | 411 The Kinoform: Computer-Generated Holographic Movies | 414 Technoanarchy: The Open Empire | 415 Selected Bibliography | 421 Index | 427
£89.10
Fordham University Press Girl Head
Book SynopsisTable of ContentsList of Plates and Figures | ix Introduction: The Body of Medusa | 1 1 China Girls in the Film Laboratory | 33 2 Gone Girls of Escamontage | 73 3 Gradivan Footsteps in the Film Archive | 102 Afterword | 129 Acknowledgments | 133 Notes | 135 Bibliography | 165 Index | 181 Color plates follow page 84
£81.90
Ohio University Press Afrofuturisms
Book SynopsisAs a philosophical, literary, and visual aesthetic, Afrofuturism has been predominately defined through Anglophone, diasporic expressions. In Afrofuturisms Isaac Vincent Joslin reorients and expands this critical discourse toward colonial and postcolonial Francophone literature and film originating from continental Africa.Trade Review“A sophisticated and compelling investigation of Afrofuturism as an alternative discourse for imagining (and potentially building) a fairer world. Isaac Vincent Joslin offers incisive theoretical observations and deep explorations of numerous African francophone texts, amounting to a valuable contribution to global literary and cinematic scholarship.” -- Vlad Dima, author of The Beautiful Skin: Football, Fantasy, and Cinematic Bodies in Africa“A remarkable contribution to African literary and cultural studies.” -- Alexie Tcheuyap, author of Postnationalist African Cinemas“Written in an accessible and elegant style, [this] book is a veritable tour de force. In this highly original, innovative, and thought-provoking exploration of speculative, futurist science fiction in the Francophone tradition, Isaac Vincent Joslin demonstrates the unprecedented nature of the interconnected crises facing global society in a time of tremendous uncertainty.” -- Keith Moser, author of Contemporary French Environmental Thought in the Post-COVID-19 Era“A refreshing scrutiny of African cultural productions, Isaac Vincent Joslin’s book raises key questions concerning the politics of aesthetics. The study explores both male and female authors, as well as both literature and cinema, which is what makes the project strong and fascinating. Because it proposes groundbreaking perspectives on ‘humanities and the future of Africa,’ this is a work for the pedagogy of African literatures and the indispensable discussion of humanism and futurism in African contexts.” -- Hervé Tchumkam, Southern Methodist UniversityA seminal and groundbreaking study [and] a unique and highly recommended addition to personal, professional, community, and academic library collections. * Midwest Book Review *Table of ContentsAcknowledgments Introduction: Africanfuturism, Development, and Humanities 1. Afrofuturist Ecolinguistics: Redefining the “Science” of Science Fiction 2. Birthing the Future: Métissage and Cultural Hybridity in Francophone African Women’s Writing 3. Child Soldiers: Reinscribing the Human in a Culture of Perpetual War 4. Alienation, Estrangement, and Dreams of Departure: Emigration and the Politics of Global Inequality in (and out of) Francophone Africa 5. “We Don’t Need No Education” Alternative Pedagogies and Epistemologies in Bassek Ba Kobhio’s Sango Malo (1990) and Le Silence de la forêt (2003) 6. Paradis Artificiels: The Lottery of Global Economies in Djibril Diop Mambety’s Le Franc, Imunga Ivanga’s Dôlè, and Fadika Kramo-Lanciné’s Wariko 7. Arguing against the Shame of the State: Sony Labou Tansi’s Ecocritical Womanism and Gaiacene Planetarity Conclusion: Toward an Afrofuturist Ecohumanist Philosophy of Experience Notes References Index
£56.10
Ohio University Press Afrofuturisms
Book SynopsisAn exploration of Francophone African literary imaginations and expressions through the lens of Afrofuturism Generally attributed to the Western imagination, science fiction is a literary genre that has expressed projected technological progress since the Industrial Revolution. However, certain fantastical elements in African literary expressions lend themselves to science fiction interpretations, both utopian and dystopian. When the concept of science is divorced from its Western, rationalist, materialist, positivist underpinnings, science fiction represents a broad imaginative space that supersedes the limits of this world. Whether it be on the moon, under the sea, or elsewhere within the imaginative universe, Afrofuturist readings of select films, novels, short stories, plays, and poems reveal a similarly emancipatory African future that is firmly rooted in its own cultural mythologies, cosmologies, and philosophies.Isaac Joslin identifies the contours and modaTrade Review“A sophisticated and compelling investigation of Afrofuturism as an alternative discourse for imagining (and potentially building) a fairer world. Isaac Vincent Joslin offers incisive theoretical observations and deep explorations of numerous African francophone texts, amounting to a valuable contribution to global literary and cinematic scholarship.” -- Vlad Dima, author of The Beautiful Skin: Football, Fantasy, and Cinematic Bodies in Africa“A remarkable contribution to African literary and cultural studies.” -- Alexie Tcheuyap, author of Postnationalist African Cinemas“Written in an accessible and elegant style, [this] book is a veritable tour de force. In this highly original, innovative, and thought-provoking exploration of speculative, futurist science fiction in the Francophone tradition, Isaac Vincent Joslin demonstrates the unprecedented nature of the interconnected crises facing global society in a time of tremendous uncertainty.” -- Keith Moser, author of Contemporary French Environmental Thought in the Post-COVID-19 Era“A refreshing scrutiny of African cultural productions, Isaac Vincent Joslin’s book raises key questions concerning the politics of aesthetics. The study explores both male and female authors, as well as both literature and cinema, which is what makes the project strong and fascinating. Because it proposes groundbreaking perspectives on ‘humanities and the future of Africa,’ this is a work for the pedagogy of African literatures and the indispensable discussion of humanism and futurism in African contexts.” -- Hervé Tchumkam, Southern Methodist UniversityA seminal and groundbreaking study [and] a unique and highly recommended addition to personal, professional, community, and academic library collections. * Midwest Book Review *Table of ContentsAcknowledgments Introduction: Africanfuturism, Development, and Humanities 1. Afrofuturist Ecolinguistics: Redefining the “Science” of Science Fiction 2. Birthing the Future: Métissage and Cultural Hybridity in Francophone African Women’s Writing 3. Child Soldiers: Reinscribing the Human in a Culture of Perpetual War 4. Alienation, Estrangement, and Dreams of Departure: Emigration and the Politics of Global Inequality in (and out of) Francophone Africa 5. “We Don’t Need No Education” Alternative Pedagogies and Epistemologies in Bassek Ba Kobhio’s Sango Malo (1990) and Le Silence de la forêt (2003) 6. Paradis Artificiels: The Lottery of Global Economies in Djibril Diop Mambety’s Le Franc, Imunga Ivanga’s Dôlè, and Fadika Kramo-Lanciné’s Wariko 7. Arguing against the Shame of the State: Sony Labou Tansi’s Ecocritical Womanism and Gaiacene Planetarity Conclusion: Toward an Afrofuturist Ecohumanist Philosophy of Experience Notes References Index
£26.09
