Kooperativer Bibliotheksverbund

UID:

Format: 1 online resource (376 p.)

Edition: 1st ed.

Series Statement: The Key Debates: Mutations and Appropriations in European Film Studies

Content: Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order to study the new way of making filmic images in new conditions more or less remote from the dispositif of the theater and in closer relationship with contemporary art. The issue will be considered at three levels: the impression of post-art on "regular" films ; the "relocation" (Cassetti) of the same films that can be seen using devices of all kinds, in conditions more or less remote from the dispositif of the theater ; parallel to the integration of contemporary art in "regular" cinema, the integration of cinema into contemporary art in all kinds of forms of creation and exhibition.

Note: Frontmatter -- , Table of Contents -- , Editorial -- , Acknowledgments -- , 1. Introduction -- , PART I A Tribute to Agnès Varda -- , 2. The Incipit of Beaches of Agnès (Les plages d’Agnès) An Installation in the Form of a Self-portrait -- , PART II The End of Cinema? -- , 3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 -- , 4. Cinema Hangs Tough -- , 5. Jean-Luc Godard’s Histoire(s) du cinéma or Cinema Surpasses Itself -- , PART III Technological Transformations -- , 6. Mutation, Appropriation and Style -- , 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue -- , 8. In-Flight Entertainment or the Emptying Process of Art in the Air -- , PART IV New Dispositif, New Conditions -- , 9. What Kind of Art Is the Cinema of Interactions? -- , 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations -- , 11. Post-cinema Ecology -- , PART V Transformations in Film Form -- , 12. Dwelling with Moving Images -- , 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film -- , 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge -- , 15. The Zidane Film -- , PART VI Post-cinema, an Artists’ Affair -- , 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 -- , 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s DAU -- , 18. Cinématon: The Shortest Films for the Longest Film – A Dialogue -- , 19. Documentary as Contemporary Art – A Dialogue , In English.

Additional Edition: ISBN 94-6372-723-X

Additional Edition: ISBN 90-485-5194-3

Language: English

DOI: 10.1515/9789048551941

UID:

Format: 1 Online-Ressource

ISBN: 9782842929244

Content: Qu'est-ce que l'art ? Depuis le milieu des années cinquante, de nombreux philosophes anglo-saxons sont entrés dans le débat ouvert par une telle interrogation. Insatisfaits des réponses de l'esthétique traditionnelle, ils cherchaient moins à introduire de nouvelles réponses à cette ancienne question qu'à changer la question elle-même. L'importante collection de textes rangés sous le nom d'esthétique analytique engage ainsi une hypothèse commune, traversant la disparité des sujets abordés : tout progrès de l'esthétique et, par là, tout progrès de notre connaissance sur l'art exigent un changement de problématique, et la philosophie analytique, inspirée par la logique ou la linguistique, peut l'assurer. La Question de la question de l'art dresse un bilan critique de cette école de pensée. Traçant le panorama des principales conceptions, certaines atypiques, l'ouvrage évalue leur contribution au débat sur les fondements de l'esthétique. Dans quelle mesure Danto, Goodman et quelques autres ont-ils revivifié cette discipline en la coupant de ses racines ?

Note: French

Language: French

URL: kostenfrei

UID:

Format: 1 online resource (376 p.)

Edition: 1st ed.

Series Statement: The Key Debates: Mutations and Appropriations in European Film Studies

Content: Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order to study the new way of making filmic images in new conditions more or less remote from the dispositif of the theater and in closer relationship with contemporary art. The issue will be considered at three levels: the impression of post-art on "regular" films ; the "relocation" (Cassetti) of the same films that can be seen using devices of all kinds, in conditions more or less remote from the dispositif of the theater ; parallel to the integration of contemporary art in "regular" cinema, the integration of cinema into contemporary art in all kinds of forms of creation and exhibition.

Note: Frontmatter -- , Table of Contents -- , Editorial -- , Acknowledgments -- , 1. Introduction -- , PART I A Tribute to Agnès Varda -- , 2. The Incipit of Beaches of Agnès (Les plages d’Agnès) An Installation in the Form of a Self-portrait -- , PART II The End of Cinema? -- , 3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 -- , 4. Cinema Hangs Tough -- , 5. Jean-Luc Godard’s Histoire(s) du cinéma or Cinema Surpasses Itself -- , PART III Technological Transformations -- , 6. Mutation, Appropriation and Style -- , 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue -- , 8. In-Flight Entertainment or the Emptying Process of Art in the Air -- , PART IV New Dispositif, New Conditions -- , 9. What Kind of Art Is the Cinema of Interactions? -- , 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations -- , 11. Post-cinema Ecology -- , PART V Transformations in Film Form -- , 12. Dwelling with Moving Images -- , 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film -- , 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge -- , 15. The Zidane Film -- , PART VI Post-cinema, an Artists’ Affair -- , 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 -- , 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s DAU -- , 18. Cinématon: The Shortest Films for the Longest Film – A Dialogue -- , 19. Documentary as Contemporary Art – A Dialogue , In English.

Additional Edition: ISBN 90-485-5194-3

Language: English

DOI: 10.1515/9789048551941

UID:

Format: 1 online resource (376 p.).

ISBN: 9789048551941 , 9048551943

Series Statement: The Key Debates: Mutations and Appropriations in European Film Studies

Content: Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order to study the new way of making filmic images in new conditions more or less remote from the dispositif of the theater and in closer relationship with contemporary art. The issue will be considered at three levels: the impression of post-art on "regular" films ; the "relocation" (Cassetti) of the same films that can be seen using devices of all kinds, in conditions more or less remote from the dispositif of the theater ; parallel to the integration of contemporary art in "regular" cinema, the integration of cinema into contemporary art in all kinds of forms of creation and exhibition.

Note: Frontmatter -- , Table of Contents -- , Editorial -- , Acknowledgments -- , 1. Introduction -- , PART I A Tribute to Agnès Varda -- , 2. The Incipit of Beaches of Agnès (Les plages d'Agnès) An Installation in the Form of a Self-portrait -- , PART II The End of Cinema? -- , 3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 -- , 4. Cinema Hangs Tough -- , 5. Jean-Luc Godard's Histoire(s) du cinéma or Cinema Surpasses Itself -- , PART III Technological Transformations -- , 6. Mutation, Appropriation and Style -- , 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition - A Dialogue -- , 8. In-Flight Entertainment or the Emptying Process of Art in the Air -- , PART IV New Dispositif, New Conditions -- , 9. What Kind of Art Is the Cinema of Interactions? -- , 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix's Algorithmic Operations -- , 11. Post-cinema Ecology -- , PART V Transformations in Film Form -- , 12. Dwelling with Moving Images -- , 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film -- , 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge -- , 15. The Zidane Film -- , PART VI Post-cinema, an Artists' Affair -- , 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 -- , 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky's DAU -- , 18. Cinématon: The Shortest Films for the Longest Film - A Dialogue -- , 19. Documentary as Contemporary Art - A Dialogue , In English.

Language: English

Keywords: Electronic books.

DOI: 10.1515/9789048551941

URL: https://doi.org/10.1515/9789048551941

URL: https://www.degruyter.com/isbn/9789048551941

URL: Cover

URL: JSTOR

URL: View this content on Open Research Library.

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URL: Click here to view book

UID:

Format: 1 online resource (376 p.)

Edition: 1st ed.

Series Statement: The Key Debates: Mutations and Appropriations in European Film Studies

Content: Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order to study the new way of making filmic images in new conditions more or less remote from the dispositif of the theater and in closer relationship with contemporary art. The issue will be considered at three levels: the impression of post-art on "regular" films ; the "relocation" (Cassetti) of the same films that can be seen using devices of all kinds, in conditions more or less remote from the dispositif of the theater ; parallel to the integration of contemporary art in "regular" cinema, the integration of cinema into contemporary art in all kinds of forms of creation and exhibition.

Note: Frontmatter -- , Table of Contents -- , Editorial -- , Acknowledgments -- , 1. Introduction -- , PART I A Tribute to Agnès Varda -- , 2. The Incipit of Beaches of Agnès (Les plages d’Agnès) An Installation in the Form of a Self-portrait -- , PART II The End of Cinema? -- , 3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 -- , 4. Cinema Hangs Tough -- , 5. Jean-Luc Godard’s Histoire(s) du cinéma or Cinema Surpasses Itself -- , PART III Technological Transformations -- , 6. Mutation, Appropriation and Style -- , 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue -- , 8. In-Flight Entertainment or the Emptying Process of Art in the Air -- , PART IV New Dispositif, New Conditions -- , 9. What Kind of Art Is the Cinema of Interactions? -- , 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations -- , 11. Post-cinema Ecology -- , PART V Transformations in Film Form -- , 12. Dwelling with Moving Images -- , 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film -- , 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge -- , 15. The Zidane Film -- , PART VI Post-cinema, an Artists’ Affair -- , 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 -- , 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s DAU -- , 18. Cinématon: The Shortest Films for the Longest Film – A Dialogue -- , 19. Documentary as Contemporary Art – A Dialogue , In English.

Additional Edition: ISBN 90-485-5194-3

Language: English

DOI: 10.1515/9789048551941

UID:

Format: 1 Online-Ressource (376 p)

ISBN: 9789048551941 , 9048551943

Series Statement: The Key Debates: Mutations and Appropriations in European Film Studies

Content: Frontmatter --Table of Contents --Editorial --Acknowledgments --1. Introduction --PART I A Tribute to Agnès Varda --2. The Incipit of Beaches of Agnès (Les plages d'Agnès) An Installation in the Form of a Self-portrait --PART II The End of Cinema? --3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 --4. Cinema Hangs Tough --5. Jean-Luc Godard's Histoire(s) du cinéma or Cinema Surpasses Itself --PART III Technological Transformations --6. Mutation, Appropriation and Style --7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition - A Dialogue --8. In-Flight Entertainment or the Emptying Process of Art in the Air --PART IV New Dispositif, New Conditions --9. What Kind of Art Is the Cinema of Interactions? --10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix's Algorithmic Operations --11. Post-cinema Ecology --PART V Transformations in Film Form --12. Dwelling with Moving Images --13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film --14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge --15. The Zidane Film --PART VI Post-cinema, an Artists' Affair --16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 --17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky's DAU --18. Cinématon: The Shortest Films for the Longest Film - A Dialogue --19. Documentary as Contemporary Art - A Dialogue

Content: Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order to study the new way of making filmic images in new conditions more or less remote from the dispositif of the theater and in closer relationship with contemporary art. The issue will be considered at three levels: the impression of post-art on "regular" films ; the "relocation" (Cassetti) of the same films that can be seen using devices of all kinds, in conditions more or less remote from the dispositif of the theater ; parallel to the integration of contemporary art in "regular" cinema, the integration of cinema into contemporary art in all kinds of forms of creation and exhibition

Note: In English

Language: English

URL: kostenfrei