Description
Book SynopsisThe Moving Form of Film: Historicizing the Medium through Other Media charts the ways in which crossing borders between film and other arts and media can provide an encompassing, inclusive, and non-teleological understanding of film history. Evolutionary narratives of cinema have traditionally adopted the Second World War as a watershed that separates ''classical'' Hollywood films from ''modern'' European productions, a scheme that subjects the entire world to the cinematic history of two hegemonic centres. In turn, histories of film as a technological medium have focused on the specificity of cinema as it gradually separated from the other art and medial forms - theatre, dance, fairground spectacle, painting, literature, still photography and other pre-cinematic modes. Taking an ambitious step forward with relation to these approaches, this book focuses on the fluid quality of the film form by exploring an array of exciting and often neglected artistic expressions worldwide as they compare and interconnect films across temporal, geographical, and cultural borders. By observing the ebb and flow of film''s contours within the bounds of other artistic and medial expressions, the chapters aspire to establish a flexible historical platform for the moving form of film, posited, from production to consumption, as a transforming and transformative medium.
Trade ReviewThis is a truly remarkable volume, not just on account of its list of distinguished contributors. Using intermediality as its method, this collection manages to establish this most precious of balance: a study of film form that never loses sight of the medium's historicity. Naguib and Solomon's book literally brims with useful theorizations and concepts. * Martine Beugnet, Université de Paris *
Table of ContentsTable of Contents List of Illustrations Contributors Acknowledgements Introduction - Stefan Solomon and Lúcia Nagib Part I - Methodologies 1. Hegel, Cinema and the Other Arts Alain Badiou 2. One-Dimensional Man? A Reply to Alain Badiou James Hellings 3. Hybrid Variations on an Intermedial Theme Robert Stam 4. Parallax Historiography and Metareference: The intramedial case of Nagasaki Shunichi's Heart, Beating in the Dark Mark Player Part II - Technologies and Environments 5. Intermediality and the Carousel Slide Projector Julian Ross 6. Up the Junction, Intermediality and Social Change Sarah Street 7. When the Past is Present: Digital Cinema and the Philosophical Toys of Pre-Cinema Ismail Xavier 8. Panoramic Views, Planetary Visions: An Intermedial Analysis of Medium Earth and Walden Tiago de Luca 9. Elemental Intermedia Stefan Solomon Part III - National and Regional Phenomena 10. Cinema from the perspective of the stage: for an integrated history of theatrical entertainment in Brazil Luciana Corrêa de Araújo 11. Flamenco on Screen: The Intermedial Legacy of Carmen Amaya in Bajarí Albert Elduque 12. Impurity and Identification: Historicising Chinese Cinema through the Opera Cecília Mello 13. Historicising the Story through Film and Music: An Intermedial Reading of Heimat 2 Lúcia Nagib Part IV - Intermedial Artists 14. Stephen Dwoskin, an Intermedial Artist Rachel Garfield, Jenny Chamarette and Darragh O'Donoghue 15. Intermedial Voices: Intersections in feminist sound and moving image Claire M. Holdsworth 16. Entanglements of Intermediality: Polanski, Pinter, Steptoe and Son Jonathan Bignell 17. The Intermedial Reworking of History in Peter Greenaway's The Tulse Luper Suitcases Trilogy Fátima Chinita Index
