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In "Archiveology" Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology-the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers-provides ways to imagine the past and the future. Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines(...)
Archiveology: Walter Benjamin and archival film practices
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In "Archiveology" Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology-the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers-provides ways to imagine the past and the future. Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines a range of films alongside Benjamin's conceptions of memory, document, excavation, and historiography. She shows how city films such as Nicole Vedres's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays Itself (2003) reconstruct notions of urban life and uses Christian Marclay's The Clock (2010) to draw parallels between critical cinephilia and Benjamin's theory of the phantasmagoria. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film. In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory.
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There has been plenty of scholarship on science fiction over the decades, but it has left one crucial aspect of the genre all but unanalysed: the visual. Ambitious and original, "Landscape and the Science Fiction Imaginary" corrects that oversight, making a powerful argument for science fiction as a visual cultural discourse. Taking influential historical works of visual(...)
Landscape and the science fiction imaginary
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There has been plenty of scholarship on science fiction over the decades, but it has left one crucial aspect of the genre all but unanalysed: the visual. Ambitious and original, "Landscape and the Science Fiction Imaginary" corrects that oversight, making a powerful argument for science fiction as a visual cultural discourse. Taking influential historical works of visual art as starting points, along with illustrations, movie matte paintings, documentaries, artist’s impressions and digital environments, John Timberlake focuses on the notion of science fiction as an 'imaginary topos', one that draws principally on the intersection between landscape and historical/prehistorical time. Richly illustrated, this book will appeal to scholars, students, and fans of science fiction and the remarkable visual culture that surrounds it.
Sur le film
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Ce livre propose une lecture rétrospective, non linéaire et décentrée de l’histoire des images en mouvement : il s’appuie sur une analyse de la pensée filmique telle qu’elle se déploie, indépendamment de ses applications techniques, dans l’histoire des représentations, et constitue un repérage de la manière dont les propriétés du film, disjointes de l’appareil qui(...)
Sur le film
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Ce livre propose une lecture rétrospective, non linéaire et décentrée de l’histoire des images en mouvement : il s’appuie sur une analyse de la pensée filmique telle qu’elle se déploie, indépendamment de ses applications techniques, dans l’histoire des représentations, et constitue un repérage de la manière dont les propriétés du film, disjointes de l’appareil qui conditionne le spectacle cinématographique, agissent dans les différents champs des pratiques artistiques.
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Broadway avenue in downtown Los Angeles holds an extraordinary collection of twelve once-luxurious and now abandoned film-palaces, built between 1910 and 1931. In most cities worldwide, such a concentration of cinemas would have been demolished long ago - here however the buildings have survived the end of film-projection intact, some of their interiors ruined and gutted,(...)
Abandoned images: film and film's end
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Broadway avenue in downtown Los Angeles holds an extraordinary collection of twelve once-luxurious and now abandoned film-palaces, built between 1910 and 1931. In most cities worldwide, such a concentration of cinemas would have been demolished long ago - here however the buildings have survived the end of film-projection intact, some of their interiors ruined and gutted, others transformed and re-used as churches, nightclubs and storage spaces. Stephen Barber begins with an exploration of these remarkable derelicts, and broadens to ask questions about the abandonment of film itself.
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Tucked away in a garden on the edge of Paris is a multimedia archive like no other: Albert Kahn's Archives de la Planète (1908-1931). The first comprehensive study of Kahn's films, Counter-Archive also offers a vital historical perspective on debates involving archives, media, and memory.
Counter-archive: Film, the everyday, and Albert Kahn's archives de lal Planète
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Tucked away in a garden on the edge of Paris is a multimedia archive like no other: Albert Kahn's Archives de la Planète (1908-1931). The first comprehensive study of Kahn's films, Counter-Archive also offers a vital historical perspective on debates involving archives, media, and memory.
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Drawing on insights from the most prominent Hollywood production designers and the historical knowledge of the venerable Art Directors Guild, Designs on Filmdelves into the detailed process of how sets are imagined, drawn, built, and decorated.
Designs on film: A century of Hollywood art direction
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Drawing on insights from the most prominent Hollywood production designers and the historical knowledge of the venerable Art Directors Guild, Designs on Filmdelves into the detailed process of how sets are imagined, drawn, built, and decorated.
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Rethinking the significance of films including "Pillow Talk," "Rear Window," and "The Seven Year Itch," Pamela Robertson Wojcik examines the popularity of the "apartment plot," her term for stories in which the apartment functions as a central narrative device. From the baby boom years into the 1970s, the apartment plot was not only key to films; it also surfaced in TV(...)
novembre 2010
The apartment plot : urban living in American film and popular culture, 1945 to 1975
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Rethinking the significance of films including "Pillow Talk," "Rear Window," and "The Seven Year Itch," Pamela Robertson Wojcik examines the popularity of the "apartment plot," her term for stories in which the apartment functions as a central narrative device. From the baby boom years into the 1970s, the apartment plot was not only key to films; it also surfaced in TV shows, Broadway plays, literature, and comic strips, from "The Honeymooners" and" The Mary Tyler Moore Show "to" Subways are for Sleeping "and" Apartment 3-G." By identifying the apartment plot as a film genre, Wojcik reveals affinities between movies generally viewed as belonging to such distinct genres as film noir, romantic comedy, and melodrama. She analyzes the apartment plot as part of a mid-twentieth-century urban discourse, showing how it offers a vision of home centered on values of community, visibility, contact, mobility, impermanence, and porousness that contrasts with views of home as private, stable, and family-based.
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This book serves as an introduction to the city for film enthusiasts, visitors, and tourists while simultaneously opening scholarly debates on global concerns such as marginalization, rapid urbanization, and child poverty.
septembre 2013
World film locations: São Paulo
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This book serves as an introduction to the city for film enthusiasts, visitors, and tourists while simultaneously opening scholarly debates on global concerns such as marginalization, rapid urbanization, and child poverty.
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In this imaginative and scholarly book, Steven Jacobs explores the architectural elements of Alfred Hitchcock's films and the vital role they played in providing atmosphere and facilitating plot development. Hitchcock famously left nothing to chance, and from the Greenwich Village apartment that provided the set for Rear Window or the now-iconic Bates house in Psycho,(...)
The wrong house: the architecture of Alfred Hitchcock
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In this imaginative and scholarly book, Steven Jacobs explores the architectural elements of Alfred Hitchcock's films and the vital role they played in providing atmosphere and facilitating plot development. Hitchcock famously left nothing to chance, and from the Greenwich Village apartment that provided the set for Rear Window or the now-iconic Bates house in Psycho, every architectural entity plays a significant role both in setting the scene and in advancing the suspenseful narratives of which Hitchcock was master. Having worked as a set designer in the early 1920s, the director remained intimately involved with his films' sets throughout his entire career.
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Harun Farocki’s (born 1944) latest film Ein Neues Produkt looks at the structure of workplaces from architectural, social and economic perspectives, documenting a year in the life of a consulting firm. This accompanying volume includes six essays and an interview.
Brave new work : a reader on Harun Farocki's film
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Harun Farocki’s (born 1944) latest film Ein Neues Produkt looks at the structure of workplaces from architectural, social and economic perspectives, documenting a year in the life of a consulting firm. This accompanying volume includes six essays and an interview.