Description
Book SynopsisWhether it involves remaking an old Hollywood movie, projecting a quiet 16mm film, or constructing a bombastic multi-screen environment, cinema now takes place not just in the movie theatre and the home, but also in the art gallery and the museum. The author of this engaging study takes stock of this development, offering an in-depth inquiry into its genesis, its defining features, and the ramifications it has for art and cinema alike. Through the lens of contemporary art history, she examines cinema studies’ great disciplinary obsession – namely, what cinema was, is, and will become in a digital future.
Trade Review"Erika Balsom's
Exhibiting Cinema in Contemporary Art represents a significant attempt from the field of rilm studies to remedy the neglect of this important strand in visual culture. ... Given its challenging and unstable object of study,
Exhibiting Cinema is a book of great merit and relevance." --
Paolo Magagnoli, Senses of Cinema, March 2015
"This book is one I have been hoping to encounter for quite a while. It is rich in theoretical reflections as well as critical analyses of works, and makes a very strong case for a new form of art and a new form of cinema in one. It is theoretically complex and elegantly written. And due to its rich theory-analysis intertwinements and historical insights, it spans, rather than the 1990-2010 as the author suggests, the entire history if cinema from the vantage point of today’s art.” --
Mieke Bal, Professor of Theory of Literature and a founding director of the Amsterdam School for Cultural Analysis (ASCA)
"Erika Balsom’s
Exhibiting Cinema in Contemporary Art is our first sustained critical history of one of the most important dimensions of contemporary art: the encounter of the cinema with the museum, the art gallery, and new practices of moving image installation. It is also a deep examination of the persistence of a certain memory of cinema that persists as a subject of critical re-examination by the most fascinating artists of our time. It is a path-breaking book that will long remain unsurpassable." --
D.N. Rodowick, William R. Kenan, Jr. Professor of Visual and Environmental Studies, and Director, Carpenter Center for the Visual Arts at Harvard University
Table of ContentsIntroduction: The Othered Cinema I. Architectures of Exhibition The Passages of Cinema Projection and Patrimony Black Box/White Cube The New Blockbusters The Myth of Activity Media at MoMA II. Filmic Ruins Post-medium Post-mortem Indexing the Past A Little History of 16mm Ruinophilia Analogue Aura III. The Remake: Old Movies, New Narratives Ambivalent Appropriations The Four Operations Precursors The False Promises of the “Utopia of Use” Remaking Fandom “Room-for-Play” VCR Memories IV. The Fiction of Truth and the Truth of Fiction Anti-anti-illusionism Hybrid Forms Rehabilitating Narrative A Return of the Real Two Images of Death Conclusion: “Cinema and…”
