Digital, video and new media arts Books
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Transcript Verlag Interface Cultures – Artistic Aspects of
Book SynopsisFrom media art archeology to contemporary interaction design - the term interface culture is based on a vivid and ongoing discourse in the fields of interactive art, interaction design, game design, tangible interfaces, auditory interfaces, fashionable technologies, wearable devices, intelligent ambiences, sensor technologies, telecommunication and new experimental forms of human-machine, human-human and machine-machine interactions and the cultural discourse surrounding them. This book's aim is to give an overview of the current state of interactive art and interface technology as well as an outlook on new forms of hybridization in art, media, scientific research and every-day media applications.
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Museu D'Art Contemporani de Barcelona (MACBA) Between the frames
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Skira Campari and Cinema
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Mousse Publishing Penumbra: Fondazione in Between Art Film
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Netherlands Architecture Institute (NAi Uitgevers/Publishers) Celluloid - Tacita Dean, Joao Maria Gusmao &
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Oxford University Press Documentary Film Reader
Book SynopsisThe Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film. While documentary has long been a mainstay of universities and cinematheques, its popularity of late has grown tenfold as reality television has flourished and as the ranks of novice filmmakers have swelled. There are now dozens of film festivals dedicated exclusively to documentaries. This reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. It integrates historical and theoretical approaches, offering a collection that is particularly well suited to meet the needs of large undergraduate survey courses on nonfiction film, as well as providing sufficient depth for graduate classes.Trade ReviewThe volume offers a rich and varied corpus of works that includes scholarly essays, film criticism, manifestos, interviews, letters, and personal recollections ... [the editors] have performed tremendous acts of scholarly service ... [presenting] a rich mosaic of writing on film form, politics, and practice that order the discursive field while still allowing the unruly documentary construct room to breathe. * Tanya Goldman, Cinema Journal *Table of ContentsForeword by Charles Musser ; Introduction ; I. Early Documentary: From the Illustrated Lecture to the Factual Film ; Jonathan Kahana, Introduction to Section I ; Rick Altman, "From Lecturer's Prop to Industrial Product: The Early History of Travel Films" (2006) ; Anonymous, "Burton Holmes Pleases a Large Audience at the Columbia" (1905) ; Kristen Whissel, "Placing the Spectator on the Scene of History: Modern Warfare and the Battle Reenactment at the Turn of the Century" (2008) ; Dai Vaughan, "Let There Be Lumiere" (1999) ; Boleslas Matuszewski, "A New Source of History" (1898) ; Tom Gunning, "Before Documentary: Early Nonfiction Films and the 'View' Aesthetic" (1997) ; Edward Curtis et al., "The Continental Film Company" (1912) ; W. Stephen Bush, "In The Land of the Head Hunters" (1914) ; Catherine Russell, "Playing Primitive" (1999) ; Anonymous, "Movies of Eskimo Life Win Much Appreciation" (1915) ; Anonymous, "Nanook of the North" (1922) ; John Grierson, "Flaherty's Poetic Moana" (1926) ; John Grierson, "Flaherty" (1931-32) ; Hamid Naficy, "Lured by the East: Ethnographic and Expedition Films about Nomadic Tribes; The Case of Grass" (2006) ; Bela Balazs, "Compulsive Cameramen" (1925) ; Anonymous, "New Films Make War Seem More Personal" (1916) ; Nicholas Reeves, "Cinema, Spectatorship, and Propaganda: Battle of the Somme (1916) and Its Contemporary Audience" (1997) ; II. Modernisms: State, Left, and Avant-Garde Documentary Between the Wars ; Jonathan Kahana, Introduction to Section II ; Robert Allerton Parker, "The Art of the Camera: An Experimental 'Movie'" (1921) ; Siegfried Kracauer, "Montage" (1947) ; Annette Michelson, "The Man with the Movie Camera: From Magician to Epistemologist" (1972) ; Seth Feldman, "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973) ; Dziga Vertov, "WE: Variant of a Manifesto" (1922) ; Jay Leyda, "Bridge" (1964) ; Mikhail Iampolsky, "Reality at Second Hand" (1991) ; Joris Ivens, "The Making of Rain" (1969) ; Joris Ivens, "Reflections on the Avant-Garde Documentary" (1931) ; Tom Conley, "Documentary Surrealism: On Land Without Bread" (1986) ; John Grierson, "The Documentary Producer" (1933) ; John Grierson, "First Principles of Documentary" (1932-34) ; Otis Ferguson, "Home Truths from Abroad" (1937) ; Charles Wolfe, "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995) ; Samuel Brody, "The Revolutionary Film: Problem of Form" (1934) ; Leo T. Hurwitz, "The Revolutionary Film: Next Step" (1934) ; Ralph Steiner and Leo T. Hurwitz, "A New Approach to Filmmaking" (1935) ; Willard Van Dyke, Letter from Knoxville (1936) ; Ralph Steiner, Letter to Jay Leyda (1935) ; John T. McManus, "Down to Earth in Spain" (1937) ; Charles Wolfe, "Historicizing the 'Voice of God': The Place of Voice-Over Commentary in Classical Documentary" (1997) ; Steve Neale, "Triumph of the Will: Notes on Documentary and Spectacle" (1979) ; Richard Griffith, "Films at the Fair" (1939) ; III: Documentary Propaganda: World War II and the Post-War Citizen ; Jonathan Kahana, Introduction to Section III ; James Agee, Review of Iwo Jima newsreels (1945) ; James Agee, Review of San Pietro (1945) ; Thomas Cripps and David Culbert, "The Negro Soldier (1944): Film Propaganda in Black and White" (1979) ; Andre Bazin, "On Why We Fight: History, Documentation, and the Newsreel" (1946) ; Jim Leach, "The Poetics of Propaganda: Humphrey Jennings and Listen to Britain" (1998) ; George C. Stoney, "Documentary in the United States in the Immediate Post-World War II Years" (1989) ; Zoe Druick, "Documenting Citizenship: Reexamining the 1950s National Film Board Films about Citizenship" (2000) ; Srirupa Roy, "Moving Pictures: The Films Division of India and the Visual Practices of the Nation-State" (2007) ; Jennifer Horne, "Experiments in Propaganda: Reintroducing James Blue's Colombian Trilogy" (2009) ; Peter Watkins with James Blue and Michael Gill, "Peter Watkins Discusses His Suppressed Nuclear Film The War Game" (1965) ; IV. Aesthetics of Liberation: Free, Direct, and Verite Cinemas ; Jonathan Kahana, Introduction to Section IV ; Jean Painleve, "The Castration of Documentary" (1953) ; Jean Cocteau, "On Blood of the Beasts" (1963) ; Lindsay Anderson, "Free Cinema" (1957) ; Tom Whiteside, "The One-Ton Pencil" (1962) ; Edgar Morin, "Chronicle of a Film" (1962) ; Jonathan Rosenbaum, "Radical Humanism and the Coexistence of Film and Poetry in The House is Black" (2003) ; Jean Rouch with Dan Georgakas, Udayan Gupta, and Judy Janda, "The Politics of Visual Anthropology" (1977) ; Ricky Leacock, "For an Uncontrolled Cinema" (1961) ; Bruce Elder, "On the Candid-Eye Movement" (1977) ; Jonas Mekas, "To Mayor Lindsay / On Film Journalism and Newsreels" (1966) ; Jeanne Hall, "Realism as a Style in Cinema Verite: A Critical Analysis of Primary" (1991) ; Margaret Mead, "As Significant as the Invention of Drama or the Novel" (1973) ; V: Talking Back: Radical Voices and Visions After 1968 ; Jonathan Kahana, Introduction to Section V ; Robert Stam, "Hour of the Furnaces and the Two Avant Gardes" (1981) ; Juan Carlos Espinosa, Jorge Fraga, Estrella Pantin, "Toward a Definition of the Didactic Documentary: A Paper Presented to the First National Congress of Education and Culture" (1978) ; Marilyn Buck, Norm Fruchter, Robert Kramer, and Karen Ross, "Newsreel" (1969) ; Frederick Wiseman with Alan Westin, "'You Start Off With a Bromide': Conversation with Film Maker Frederick Wiseman" (1974) ; David MacDougall, "Beyond Observational Cinema" (1973/1992) ; Pauline Kael, "Beyond Pirandello" (1970) ; Pearl Bowser, "Pioneers of Black Documentary Film" (1999) ; Michael Chanan, "Rediscovering Documentary: Cultural Context and Intentionality" (1990) ; Santiago Alvarez with the editors of Cineaste, "'5 Frames Are 5 Frames, Not 6, But 5': An Interview with Santiago Alvarez" (1975) ; Abe Mark Nornes, "The Postwar Documentary Trace: Groping in the Dark" (2002) ; Emile de Antonio with Tanya Neufeld, "An Interview with Emile de Antonio" (1973) ; Annette Michelson, Reply to de Antonio (1973) ; Bill Nichols, "The Voice of Documentary" (1983) ; James Roy MacBean, "Two Laws from Australia, One White, One Black: The Recent Past and the Challenging Future of Ethnographic Film" (1983) ; Lee Atwell, Review of Word is Out (1979) ; Julia Lesage, "The Political Aesthetics of the Feminist Documentary Film" (1978) ; E. Ann Kaplan, "Theories and Strategies of the Feminist Documentary" (1983) ; Jill Godmilow, "Paying Dues: A Personal Experience with Theatrical Distribution" (1977) ; Coco Fusco, "A Black Avant-Garde? Notes on Black Audio Film Collective and Sankofa" (1988) ; Renee Tajima, Letter to Scott MacDonald (1995) ; John Greyson, "Strategic Compromises: AIDS and Alternative Video Practices" (1990) ; VI. Truth Not Guaranteed: Reflections, Revisions, and Returns ; Editor's section introduction ; Robert Sklar, "Documentary: Artifice in the Service of Truth" (1975) ; Jonas Mekas, "The Diary Film (A Lecture on Reminiscences of a Journey to Lithuania)" (1972) ; Chick Strand, "Notes on Ethnographic Film by a Film Artist" (1978) ; Michael Renov, "Toward a Poetics of Documentary" (1993) ; Trinh T. Minh-ha, "Mechanical Eye, Electronic Ear and the Lure of Authenticity" (1984) ; Brian Winston, "The Tradition of the Victim in Griersonian Documentary" (1988) ; J. Hoberman, "Shoah: The Being of Nothingness" (1985-86) ; Claude Lanzmann with Marc Chevrie and Herve Le Roux, "Site and Speech: An Interview with Claude Lanzmann about Shoah" (1985) ; Linda Williams, "Mirrors without Memories: Truth, History, and the New Documentary" (1993) ; Peter Bates, "Truth Not Guaranteed: An Interview with Errol Morris" (1989) ; Harlan Jacobson with Michael Moore, "Michael & Me" (1989) ; Thomas Waugh, "'Acting to Play Oneself': Notes on Performance in Documentary" (1990) ; Phillip Brian Harper, "Marlon Riggs: The Subjective Position of Documentary Video" (1995) ; Paula Rabinowitz, "Melodrama/Male Drama: The Sentimental Contract of American Labor Films" (2002) ; Marsha Orgeron and Devin Orgeron, "Familial Pursuits, Editorial Acts: Documentaries After the Age of Home Video" (2007) ; Vivian Sobchack, "Inscribing Ethical Space: 10 Propositions on Death, Representation, and Documentary" (1984) ; Paul Arthur, "Jargons of Authenticity (Three American Moments)" (1993) ; VII: Documentary Transformed: Transnational and Transmedial Crossings ; Jonathan Kahana, Introduction to Section VII ; Harun Farocki and Jill Godmilow with Jennifer Horne and Jonathan Kahana, "A Perfect Replica: An Interview with Harun Farocki and Jill Godmilow" (1998) ; Rachel Gabara, "Mixing Impossible Genres: David Achkar and African Autobiographical Documentary" (2003/2013) ; Jean-Marie Teno, "Writing on Walls: The Future of African Documentary Cinema" (2010) ; Chris Berry, "Getting Real: Chinese Documentary, Chinese Postsocialism" (2007) ; Wu Wenguang, "DV: Individual Filmmaking" (2006) ; Richard Porton, "Weapon of Mass Instruction: Michael Moore's Fahrenheit 9/11" (2004) ; Scott MacDonald, "Up Close and Political: Three Short Ruminations on Ideology in the Nature Film" (2006) ; Amy Villarejo, "Bus 174 and the Living Present" (2006) ; Barbara Klinger, "Cave of Forgotten Dreams: Meditations on 3D" (2012) ; Index
£79.80
Penguin Random House LLC Moving Innovation A History of Computer Animation The MIT Press
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Little, Brown & Company The Queens of Animation
Book Synopsis From the bestselling author of Rise of the Rocket Girls, the untold, 'richly detailed' story of the women of Walt Disney Studios, who shaped the iconic films that have enthralled generations (Margot Lee Shetterly, New York Times bestselling author of Hidden Figures). From Snow White to Moana, from Pinocchio to Frozen, the animated films of Walt Disney Studios have moved and entertained millions. But few fans know that behind these groundbreaking features was an incredibly influential group of women who fought for respect in an often ruthless male-dominated industry and who have slipped under the radar for decades. In The Queens of Animation, bestselling author Nathalia Holt tells their dramatic stories for the first time, showing how these women infiltrated the boys' club of Disney's story and animation departments and used early technologies to create the rich artwork and unforgettable narratives that have become part of the American canon. As the influence of Walt Disney Studios grew -- and while battling sexism, domestic abuse, and workplace intimidation -- these women also fought to transform the way female characters are depicted to young audiences. With gripping storytelling, and based on extensive interviews and exclusive access to archival and personal documents, The Queens of Animation reveals the vital contributions these women made to Disney's Golden Age and their continued impact on animated filmmaking, culminating in the record-shattering Frozen, Disney's first female-directed full-length feature film.A Best Book of 2019: Library Journal, Christian Science Monitor, and Financial Times
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