3069 Résultats
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Résumé:
Dark Places" explores the dim, claustrophobic interiors of haunted houses in horror movies, as well as the cinema auditorium itself, and their relation to the 'dark places' of the human pysche. Barry Curtis looks at the long, blood-soaked history of horror films: their fascination with re-animating the dead; the special effects, both sophisticated and crude, which have(...)
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Résumé:
Dark Places" explores the dim, claustrophobic interiors of haunted houses in horror movies, as well as the cinema auditorium itself, and their relation to the 'dark places' of the human pysche. Barry Curtis looks at the long, blood-soaked history of horror films: their fascination with re-animating the dead; the special effects, both sophisticated and crude, which have(...)
Titre:
Dark places: the haunted house in film
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Dark Places" explores the dim, claustrophobic interiors of haunted houses in horror movies, as well as the cinema auditorium itself, and their relation to the 'dark places' of the human pysche. Barry Curtis looks at the long, blood-soaked history of horror films: their fascination with re-animating the dead; the special effects, both sophisticated and crude, which have been contrived in order to bring spirits into the realm of the living; the structures, projections and architecture of horror movie sets; and the complex metaphorical life of 'ghosts' as harbingers of loss, amnesia, injustice and vengeance. A wide range of films is also discussed in which the 'haunted house' is reworked in new scenarios - the road, the apartment, the motel, the spaceship - and visually linked to the troubling archetypes of Gothic fictions. Barry Curtis is Emeritus Professor of Visual Culture at Middlesex University, Fellow of the London Consortium, and Visiting Tutor at the Royal College of Art. He has written widely on film, architecture, art and visual culture for magazines, newspapers and journals.
Dark places: the haunted house in film
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Résumé:
Dark Places" explores the dim, claustrophobic interiors of haunted houses in horror movies, as well as the cinema auditorium itself, and their relation to the 'dark places' of the human pysche. Barry Curtis looks at the long, blood-soaked history of horror films: their fascination with re-animating the dead; the special effects, both sophisticated and crude, which have been contrived in order to bring spirits into the realm of the living; the structures, projections and architecture of horror movie sets; and the complex metaphorical life of 'ghosts' as harbingers of loss, amnesia, injustice and vengeance. A wide range of films is also discussed in which the 'haunted house' is reworked in new scenarios - the road, the apartment, the motel, the spaceship - and visually linked to the troubling archetypes of Gothic fictions. Barry Curtis is Emeritus Professor of Visual Culture at Middlesex University, Fellow of the London Consortium, and Visiting Tutor at the Royal College of Art. He has written widely on film, architecture, art and visual culture for magazines, newspapers and journals.
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livres
livres
Publication:
janvier 2009, London
janvier 2009, London
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livres
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$29.95
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This book explores the experience of driving cars as a way of encountering landscapes and cities around the world. A richly illustrated cultural history, drawing on social and urban history, art, literature and music, Drive explores in particular how car driving is portrayed in cinema and other moving images, from America to Europe and Asia, and from Hollywood to the(...)
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This book explores the experience of driving cars as a way of encountering landscapes and cities around the world. A richly illustrated cultural history, drawing on social and urban history, art, literature and music, Drive explores in particular how car driving is portrayed in cinema and other moving images, from America to Europe and Asia, and from Hollywood to the(...)
Titre:
Drive : journeys through film, cities and landscapes
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This book explores the experience of driving cars as a way of encountering landscapes and cities around the world. A richly illustrated cultural history, drawing on social and urban history, art, literature and music, Drive explores in particular how car driving is portrayed in cinema and other moving images, from America to Europe and Asia, and from Hollywood to the avant-garde. Drive is about dynamic journeys, experiences and speeds, rooted in specific places and roads, and expanded into the realm of cinema, art and video games. It moves from the gentle deserts of The Grapes of Wrath to the adventurous city streets of The Italian Job, from the aesthetic delights of Rain Man and Traffic to the existential musings of Two-Lane Blacktop, Thelma and Louise and Vanishing Point, from the contemplative freeway pleasures of Lift to the Scaffold, Radio On and London Orbital to the hallucinatory high-speed dangers of Crash, Bullitt, Death Proof and C’était un Rendezvous. It shows how various kinds of driving – with different speeds, cars, attitudes, roads and cities – provide experiences and values that we ignore at our peril.
Drive : journeys through film, cities and landscapes
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Résumé:
This book explores the experience of driving cars as a way of encountering landscapes and cities around the world. A richly illustrated cultural history, drawing on social and urban history, art, literature and music, Drive explores in particular how car driving is portrayed in cinema and other moving images, from America to Europe and Asia, and from Hollywood to the avant-garde. Drive is about dynamic journeys, experiences and speeds, rooted in specific places and roads, and expanded into the realm of cinema, art and video games. It moves from the gentle deserts of The Grapes of Wrath to the adventurous city streets of The Italian Job, from the aesthetic delights of Rain Man and Traffic to the existential musings of Two-Lane Blacktop, Thelma and Louise and Vanishing Point, from the contemplative freeway pleasures of Lift to the Scaffold, Radio On and London Orbital to the hallucinatory high-speed dangers of Crash, Bullitt, Death Proof and C’était un Rendezvous. It shows how various kinds of driving – with different speeds, cars, attitudes, roads and cities – provide experiences and values that we ignore at our peril.
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livres
livres
Publication:
septembre 2012
septembre 2012
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livres
livres
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$44.50
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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(...)
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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(...)
Titre:
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.
Archiveology: Walter Benjamin and archival film practices
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Résumé:
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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livres
livres
Publication:
mars 2018
mars 2018
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livres
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This publication offers a selective retrospective of the work of photographer and filmmaker Friedl Kubelka—known as a filmmaker under the name of Friedl vom Gröller. In addition to a selection of her fashion photographs, the book focuses on portraits of her friends and family, as well as series of images and films.
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This publication offers a selective retrospective of the work of photographer and filmmaker Friedl Kubelka—known as a filmmaker under the name of Friedl vom Gröller. In addition to a selection of her fashion photographs, the book focuses on portraits of her friends and family, as well as series of images and films.
Titre:
Friedl Kubelka vom Gröller : Photography & films
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This publication offers a selective retrospective of the work of photographer and filmmaker Friedl Kubelka—known as a filmmaker under the name of Friedl vom Gröller. In addition to a selection of her fashion photographs, the book focuses on portraits of her friends and family, as well as series of images and films.
Friedl Kubelka vom Gröller : Photography & films
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This publication offers a selective retrospective of the work of photographer and filmmaker Friedl Kubelka—known as a filmmaker under the name of Friedl vom Gröller. In addition to a selection of her fashion photographs, the book focuses on portraits of her friends and family, as well as series of images and films.
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livres
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Publication:
août 2013
août 2013
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Monographies photo
Monographies photo
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vidéo
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2 videocassettes (Mini-DV) (approximately 108 min.) : sound, color ; 1/4 in. master, 2 videodiscs (DVD) (108 min., 26 sec.) : digital ; 12 cm consultation copy, 1...
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2 videocassettes (Mini-DV) (approximately 108 min.) : sound, color ; 1/4 in. master, 2 videodiscs (DVD) (108 min., 26 sec.) : digital ; 12 cm consultation copy, 1...
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Curator's talk : the dawn of air travel : Thursday night feature : NASM = Causerie avec le commissaire : les débuts de l'aéronautique : soirée du jeudi : NASM, 2010 Jan. 11.
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2 videocassettes (Mini-DV) (approximately 108 min.) : sound, color ; 1/4 in. master, 2 videodiscs (DVD) (108 min., 26 sec.) : digital ; 12 cm consultation copy, 1...
Curator's talk : the dawn of air travel : Thursday night feature : NASM = Causerie avec le commissaire : les débuts de l'aéronautique : soirée du jeudi : NASM, 2010 Jan. 11.
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2 videocassettes (Mini-DV) (approximately 108 min.) : sound, color ; 1/4 in. master, 2 videodiscs (DVD) (108 min., 26 sec.) : digital ; 12 cm consultation copy, 1...
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239 pages ; 21 cm
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239 pages ; 21 cm
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London : Whitechapel Gallery ; Cambridge, Massachusetts : The MIT Press, [2015]
London : Whitechapel Gallery ; Cambridge, Massachusetts : The MIT Press, [2015]
Titre:
Materiality / edited by Petra Lange-Berndt.
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239 pages ; 21 cm
Materiality / edited by Petra Lange-Berndt.
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239 pages ; 21 cm
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London : Whitechapel Gallery ; Cambridge, Massachusetts : The MIT Press, [2015]
London : Whitechapel Gallery ; Cambridge, Massachusetts : The MIT Press, [2015]
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The architecture of cinematic spaces : by interiors / Mehruss Jon Ahi and Armen Karaoghlanian.
The architecture of cinematic spaces : by interiors / Mehruss Jon Ahi and Armen Karaoghlanian.
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88 pages : illustrations (black and white), plans ; 22 x 22 cm
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88 pages : illustrations (black and white), plans ; 22 x 22 cm
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Bristol ; Chicago, IL : Intellect Books, 2020., ©2020
Bristol ; Chicago, IL : Intellect Books, 2020., ©2020
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The architecture of cinematic spaces : by interiors / Mehruss Jon Ahi and Armen Karaoghlanian.
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88 pages : illustrations (black and white), plans ; 22 x 22 cm
The architecture of cinematic spaces : by interiors / Mehruss Jon Ahi and Armen Karaoghlanian.
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88 pages : illustrations (black and white), plans ; 22 x 22 cm
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Bristol ; Chicago, IL : Intellect Books, 2020., ©2020
Bristol ; Chicago, IL : Intellect Books, 2020., ©2020
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xii, 274 pages : illustrations ; 24 cm.
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xii, 274 pages : illustrations ; 24 cm.
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Cambridge, Massachusetts : The MIT Press, [2019], ©2019
Cambridge, Massachusetts : The MIT Press, [2019], ©2019
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Michael Snow / edited by Annette Michelson and Kenneth White.
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xii, 274 pages : illustrations ; 24 cm.
Michael Snow / edited by Annette Michelson and Kenneth White.
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xii, 274 pages : illustrations ; 24 cm.
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Cambridge, Massachusetts : The MIT Press, [2019], ©2019
Cambridge, Massachusetts : The MIT Press, [2019], ©2019
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1 online resource
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[Place of publication not identified] : Flugschriften, 2019.
[Place of publication not identified] : Flugschriften, 2019.
Titre:
Out of Whack: : The Aberrant Identity of Tierra Whack.
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1 online resource
Out of Whack: : The Aberrant Identity of Tierra Whack.
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1 online resource
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[Place of publication not identified] : Flugschriften, 2019.
[Place of publication not identified] : Flugschriften, 2019.
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vidéo
vidéo
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1 vidéocassette (52 min.) : sd., color with b&w sequences ; 1/2 in.
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1 vidéocassette (52 min.) : sd., color with b&w sequences ; 1/2 in.
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[Montréal] : Productions de la Chasse Galerie, ©2003.
[Montréal] : Productions de la Chasse Galerie, ©2003.
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Nos églises, nos châteaux [enregistrement vid́eo] / production, Productions de la Chasse Galerie avec la collab. de Télé-Québec ; produit par Alain Corneau ; un film de Simon Poulin.
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1 vidéocassette (52 min.) : sd., color with b&w sequences ; 1/2 in.
Nos églises, nos châteaux [enregistrement vid́eo] / production, Productions de la Chasse Galerie avec la collab. de Télé-Québec ; produit par Alain Corneau ; un film de Simon Poulin.
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1 vidéocassette (52 min.) : sd., color with b&w sequences ; 1/2 in.
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vidéo
vidéo
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[Montréal] : Productions de la Chasse Galerie, ©2003.
[Montréal] : Productions de la Chasse Galerie, ©2003.
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