Jonas Mekas: Images are real
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Through a wide selection of works from the 1960s to the late 2010s, this catalogue aims to read the Lithuanian filmmaker's work as a Dantesque journey leading to happiness, from the infernos of history, through a daily exercise in filmmaking. The title is a quote taken from the film ''Out-takes From the Life of a Happy Man'', in which the artist's voice-over reflects to(...)
Jonas Mekas: Images are real
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$40.00
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Through a wide selection of works from the 1960s to the late 2010s, this catalogue aims to read the Lithuanian filmmaker's work as a Dantesque journey leading to happiness, from the infernos of history, through a daily exercise in filmmaking. The title is a quote taken from the film ''Out-takes From the Life of a Happy Man'', in which the artist's voice-over reflects to himself, ''Memories are past, but images are here, and images are real!'' Completing the volume are a collection of texts by Francesco Urbano Ragazzi, Hollis Melton, P. Adams Sitney, Ieva Jasinskaite, and Philipp Scheid.
Architecture and Film, Set Design
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Concerned with the connection between the built environment and the passage of time, ''Reframing Berlin'' uses film locations in the city to reveal the influence that urban transformation has on memory-making. Covering the city’s history since the beginning of cinema, the book proposes the term urban strategy to understand the range of consequential actions taken by(...)
Architecture and Film, Set Design
March 2023
Reframing Berlin: Architecture, Memory-Making and Film Locations
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Concerned with the connection between the built environment and the passage of time, ''Reframing Berlin'' uses film locations in the city to reveal the influence that urban transformation has on memory-making. Covering the city’s history since the beginning of cinema, the book proposes the term urban strategy to understand the range of consequential actions taken by politicians, developers, and other powerful figures to shape the nature and future of buildings, streets, and districts. Organizing these strategies from demolition to memorialization, the authors study the ways these actions forget or recall aspects of place. Using cinematic representations of Berlin as an audiovisual archive, the study details how the city has adjusted to its traumatic twentieth-century history through architectural transformations. Two dissimilar case studies frame each strategy, indicating that an approach that works for one building may not be sufficient for another.
Architecture and Film, Set Design
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Si les cinéastes expérimentaux « élargissent » le champ artistique par une exploration des puissances, des modes de diffusion ou même de performance de l'image animée, à l'ère de l'Anthropocène, ces pratiques contiennent l'espoir d'une toute autre expansion : élargir notre expérience de la nature.
Architecture and Film, Set Design
April 2022
Expanded Nature : Écologies du cinéma expérimental
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Si les cinéastes expérimentaux « élargissent » le champ artistique par une exploration des puissances, des modes de diffusion ou même de performance de l'image animée, à l'ère de l'Anthropocène, ces pratiques contiennent l'espoir d'une toute autre expansion : élargir notre expérience de la nature.
Architecture and Film, Set Design
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This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a(...)
Feminist worldmaking and the moving image
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This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle—a way of not only picturing the world but remaking it. The contributors consider key decolonial filmmakers, including Trinh T. Minh-ha and Sarah Maldoror; explore collectively produced films with ties to women's liberation movements in different countries; and investigate the cinematic expressions of tensions and alliances between feminism and anti-imperialist struggles. They grapple with the need for a broader more inclusive definition of the term ''feminism''; meditate on the figure of the grandmother; reflect on realist aesthetics; and ask what a feminist film historiography might look like.
Architecture and Film, Set Design
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'Spots in Shots' explores a selection of little-known but fascinating short films made in Europe and the US between 1990 and 2017 that tell stories about architecture and urban development. Based on interviews with the filmmakers, the book asks how cinema can stir public interest in the oeuvres of architects.
Spots in shots: narrating the built environment in short film
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'Spots in Shots' explores a selection of little-known but fascinating short films made in Europe and the US between 1990 and 2017 that tell stories about architecture and urban development. Based on interviews with the filmmakers, the book asks how cinema can stir public interest in the oeuvres of architects.
Architecture and Film, Set Design
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Once the province of film and media scholars, today the moving image is of broad concern to historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations which no longer presuppose a fixed viewer, urban space becomes envisioned and planned through "fly throughs," and(...)
The moving eye: film, television, architecture, visual art, and the modern
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Once the province of film and media scholars, today the moving image is of broad concern to historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations which no longer presuppose a fixed viewer, urban space becomes envisioned and planned through "fly throughs," and technologies such as GPS add data to the experience of travel, moving images have captured the attention of geographers and scholars across the humanities and social sciences. Their practice of "mobility studies" is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952-2009) was among the first practitioners of visual studies to theorize the experience of vision in motion. Her books have become key points of reference in the discussion of the windows that frame images and the viewers in motion who perceive them. Although widely influential beyond her own discipline, Friedberg's work has never been the subject of an extended study. "The Moving Eye" gathers together essays by renowned thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality.
Architecture and Film, Set Design
The intervals of cinema
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The cinema, like language, can be said to exist as a system of differences. In his latest book, the acclaimed philosopher Jacques Rancière relates cinema to literature and theatre. With literature, he argues, cinema takes its narrative conventions, while at the same time effacing its images and its philosophy; and it rejects theatre, while also fulfilling theatre’s dream.(...)
September 2019
The intervals of cinema
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The cinema, like language, can be said to exist as a system of differences. In his latest book, the acclaimed philosopher Jacques Rancière relates cinema to literature and theatre. With literature, he argues, cinema takes its narrative conventions, while at the same time effacing its images and its philosophy; and it rejects theatre, while also fulfilling theatre’s dream. Built on these contradictions, the cinema is the real, material space in which one feels moved by the spectacle of shadows. Thus for Rancière, the cinema is the always disappointed dream of a language of images.
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Films use architecture as visual shorthand to tell viewers everything they need to know about the characters in a short amount of time. Illustrated by a diverse range of films from different eras and cultures, this book investigates the reciprocity between film and architecture. Using a phenomenological approach, it describes how we, the viewers, can learn how to read(...)
April 2018
Film, architecture and spatial imagination
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Films use architecture as visual shorthand to tell viewers everything they need to know about the characters in a short amount of time. Illustrated by a diverse range of films from different eras and cultures, this book investigates the reciprocity between film and architecture. Using a phenomenological approach, it describes how we, the viewers, can learn how to read architecture and design in film in order to see the many inherent messages. Architecture’s representational capacity contributes to the plausibility or 'reality' possible in film. The book provides an ontological understanding that clarifies and stabilizes the reciprocity of the actual world and a filmic world of illusion and human imagination, thereby shedding light on both film and architecture.
Gravité sur Billy Wilder
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Cynique, Billy Wilder ? On a coutume de le dire. Et grossier, voire vulgaire. Son cinéma est lourd, certes, mais d'une lourdeur littérale. Auteur de quelques-unes des comédies parmi les plus drôles de l'histoire, émule de Lubitsch, il est, par excellence, le cinéaste de la gravité. La force du terrestre et la pesanteur sont au coeur de ses films. Les mouvements et les(...)
Gravité sur Billy Wilder
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Cynique, Billy Wilder ? On a coutume de le dire. Et grossier, voire vulgaire. Son cinéma est lourd, certes, mais d'une lourdeur littérale. Auteur de quelques-unes des comédies parmi les plus drôles de l'histoire, émule de Lubitsch, il est, par excellence, le cinéaste de la gravité. La force du terrestre et la pesanteur sont au coeur de ses films. Les mouvements et les discours, le rire et la politique, tout est affaire de poids dans ''Certains l'aiment chaud,'' dans ''Sunset Boulevard'' comme dans ''Un, deux, trois.'' Wilder est moins un satiriste, en vérité, qu'un historien. Tantôt il analyse les origines et les évolutions de la société américaine, tantôt il décrit une Allemagne marquée par le nazisme. Aller de la gravité matérielle à la gravité historique est dès lors la trajectoire de ce livre, qui propose une vision inédite d'une oeuvre fondamentale.
Architecture and Film, Set Design
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Une analyse des conséquences de l'acte de filmer dans la rue sur le cinéma. La Nouvelle Vague pose un regard inédit sur la ville dans laquelle la rue devient un acteur, une trame narrative ou un contexte politique. A travers l'étude de courts-métrages de J. Eustache, F. Truffaut ou encore de J.-L. Godard, l'auteur propose des définitions, des références et des anecdotes(...)
Désirs de rues : l'urbain, une matrice pour un nouveau cinéma
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Une analyse des conséquences de l'acte de filmer dans la rue sur le cinéma. La Nouvelle Vague pose un regard inédit sur la ville dans laquelle la rue devient un acteur, une trame narrative ou un contexte politique. A travers l'étude de courts-métrages de J. Eustache, F. Truffaut ou encore de J.-L. Godard, l'auteur propose des définitions, des références et des anecdotes mêlant théorie et pratique.
Architecture and Film, Set Design