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Images en mouvement, natures mortes : cinéma, nouveaux médias et la fin du XXe siècle...
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- Achat immédiatImages en mouvement, natures mortes : cinéma, nouveaux médias et la fin du XXe siècle...
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Lieu : Jessup, Maryland, États-Unis
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Numéro de l'objet eBay :385881686460
Dernière mise à jour : juin 14, 2024 16:36:41 HAEAfficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- Book Title
- Moving Pictures, Still Lives : Film, New Media, and the Late Twen
- ISBN
- 9780190873882
- Subject Area
- Performing Arts
- Publication Name
- Moving Pictures, Still Lives : Film, New Media, and the Late Twentieth Century
- Publisher
- Oxford University Press, Incorporated
- Item Length
- 6 in
- Subject
- Film / General
- Publication Year
- 2018
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.8 in
- Item Weight
- 17.8 Oz
- Item Width
- 9.1 in
- Number of Pages
- 304 Pages
À propos de ce produit
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0190873884
ISBN-13
9780190873882
eBay Product ID (ePID)
241010595
Product Key Features
Number of Pages
304 Pages
Language
English
Publication Name
Moving Pictures, Still Lives : Film, New Media, and the Late Twentieth Century
Publication Year
2018
Subject
Film / General
Type
Textbook
Subject Area
Performing Arts
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
17.8 Oz
Item Length
6 in
Item Width
9.1 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2017-050040
Dewey Edition
23
Illustrated
Yes
Dewey Decimal
791.43657
Table Of Content
Introduction: The Archaeomodern Turn 1. The Old Medium of Film 2. Film and History in the Late Twentieth Century 3. The Baroque Present 4. Museums for Time Machines 5. Archaeomodern Images 6. The Cinema of Painters Part I: Theory and the Modern Past Chapter One The Hauntology of the Cinematic Image: Walter Benjamin, Film Theory, and the Mourning Play 1. Haunted Screens 2. History, Allegory, and Mourning 3. Specters of Cinema 4. After Cinema Chapter Two Time's Arrow, Time's Bow: Gilles Deleuze in the Baroque Age of Cinema 1. Deleuze and the Baroque 2. Cinema Unfolds 3. After Cinema Chapter Three Serge Daney, Zapper: Film, Television, and the Persistence of Media 1. The Rearview Mirror 2. An Adult Art 3. Zapping the Cinema Part II: The Cinema of Painters Chapter Four The Suspended Spectacle of History: The Tableau Vivant in Late Twentieth-Century Cinema 1. The Post-Historical Image 2. A Painting Ruined 3. Caravaggio's Moving Pictures Chapter Five The Afterlife of Art and Objects: The Cinematic Still Life in the Late Twentieth Century 1. The Object as Event 2. Modernity and the Sacred Object: Alain Cavalier's Thérèse 3. Moving Pictures, Still Lives: On Terence Davies Chapter Six Caliban's Books: Old and New Media in the Work of Peter Greenaway 1. The Canonical Artifact in a Thatcherite Moment 2. Prospero's Library and the Unbound Book 3. Illuminated Manuscripts 4. A Nomadic Shakespeare and the Confines of Heritage Chapter Seven Old Haunts: Commemoration and Mourning in Agnès Varda's Landscapes 1. Unearthed 2. Nature's Studio 3. Land and Escapes
Synopsis
Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990s-the rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptations-it explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the "archaeomodern turn" in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agn s Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figures-Walter Benjamin, Gilles Deleuze, and Serge Daney-who grappled with the late twentieth century's characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age., Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990s-the rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptations-it explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the "archaeomodern turn" in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agnès Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figures-Walter Benjamin, Gilles Deleuze, and Serge Daney-who grappled with the late twentieth century's characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age., Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990s - the rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptations - it explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the "archaeomodern turn" in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agnès Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figures - Walter Benjamin, Gilles Deleuze, and Serge Daney - who grappled with the late twentieth century's characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age., Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990sthe rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptationsit explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the archaeomodern turn in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agnès Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figuresWalter Benjamin, Gilles Deleuze, and Serge Daneywho grappled with the late twentieth centurys characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age., Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. It explores the work of filmmakers and philosophers who witnessed the transition between a fading modernity crystallized in cinema and the new media visible in the offing. The book retraces an "archaeomodern turn" in media and theory that framed the history of cinema as a repository of abandoned but potentially transformative modern experiments. Book jacket., Moving Pictures, Still Lives reframes and rediscovers the virtues and limitations of movies created during the late twentieth century, between the fading modernity crystallized in cinema and the ascendant new digital media visible in the offing.
LC Classification Number
PN1995.25.T94 2018
ebay_catalog_id
4
Copyright Date
2018
Description de l'objet du vendeur
Le vendeur assume l'entière responsabilité de cette annonce.
Numéro de l'objet eBay :385881686460
Dernière mise à jour : juin 14, 2024 16:36:41 HAEAfficher toutes les modificationsAfficher toutes les modifications
Expédition et manutention
Lieu où se trouve l'objet :
Jessup, Maryland, États-Unis
Expédition :
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