Cinematic

ISBN-10: 0262532883

ISBN-13: 9780262532884

Edition: 2007

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Description:

The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapelrsquo;s Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography--cinema's ghostly parent--was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematicassembles key writings by artists and theorists from the 1920s on--including Laacute;szloacute; Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David--documenting the photography-film dialogue that has enriched both media.
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Book details

List price: $24.95
Copyright year: 2007
Publisher: MIT Press
Publication date: 4/20/2007
Binding: Paperback
Pages: 222
Size: 5.75" wide x 8.25" long x 1.00" tall
Weight: 0.770
Language: English

Roland Barthes (1915-1980), a French critic and intellectual, was a seminal figure in late twentieth-century literary criticism. Barthes's primary theory is that language is not simply words, but a series of indicators of a given society's assumptions. He derived his critical method from structuralism, which studies the rules behind language, and semiotics, which analyzes culture through signs and holds that meaning results from social conventions. Barthes believed that such techniques permit the reader to participate in the work of art under study, rather than merely react to it. Barthes's first books, Writing Degree Zero (1953), and Mythologies (1957), introduced his ideas to a European audience. During the 1960s his work began to appear in the United States in translation and became a strong influence on a generation of American literary critics and theorists. Other important works by Barthes are Elements of Semiology (1968), Critical Essays (1972), The Pleasure of the Text (1973), and The Empire of Signs (1982). The Barthes Reader (1983), edited by Susan Sontag, contains a wide selection of the critic's work in English translation.

Jean Baudrillard (1929--2007) was a philosopher, sociologist, cultural critic, and theorist of postmodernity who challenged all existing theories of contemporary society with humor and precision. An outsider in the French intellectual establishment, he was internationally renowned as a twenty-first century visionary, reporter, and provocateur.

Motion pictures
The captive moment
Seriality
Photography at the cinema
From one image to another
Mixed media/mixed memory
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