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Screens and Illusionism
Peter Bloom and Dominique Jullien (eds)
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Edinburgh Studies in Film and Intermediality
Cinematic IntermedialityTheory and Practice
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£100.00
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About this book
Outlines an innovative agenda for understanding film’s interaction with other art forms
- Opens up new critical perspectives for understanding the role of intermediality in moving image creation
- Broadens the traditional horizon of film studies, challenging mono-medial conceptions of film
- Offers a broad and inclusive view of cinematic intermediality, with a special emphasis on understudied avant-garde and experimental practice
As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another.
Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.
Reviews
This book adds significantly to our understanding of the histories, theories, and practices of cinematic intermediality. It includes exquisite explorations of filmic works, and offers a space for filmmakers to describe their intermedial engagements and fascinations. At a moment where the definition of film is in transformation, this volume of essays reminds us that the ontology of film has always been in mutually productive conversation with other art forms, enriching and being enriched by that which both solidifies and sets into movement its medium specificity.
Together, these chapters succeed in updating the field of artistic intermediality on several fronts, pertinently adding to the ongoing theoretical debate and the empirical case studies available. This is undeniably a must-read book for that reason alone. [...] a fundamental overview of cinema’s performative dimension.
Table of contents
List of Illustrations
Acknowledgements
Contributors
Introduction - Kim Knowles and Marion Schmid
PART 1: MAPPING THE INTERZONE
1. 'Film and Performance: Intermedial Intersections’ - Stephen Barber
2. ‘Carving Cameras: Antonioni’s Lo Sguardo di Michelangelo (2004)’ - Steven Jacobs
3. ‘The Photo-Filmic and the Post-Human: Picturesque Landscapes at the Peripheries of Global Cinema’ - Ágnes Pethő
4. ‘Dream Screen: On Cinema and Painting, Blur and Absorption’ - Martine Beugnet
PART 2: THE INTERMEDIAL AVANT-GARDES
5. ‘From the Periphery to the Interstices: Avant-Garde Film, Medium Specificity and Intermediality, 1970-2015’ - Christopher Townsend
6. The ‘Artist as Filmmaker’: Modernisms, Schisms, Misunderstandings’ - Lucy Reynolds
7. ‘The Artwork/Statement as Intermedial Nexus: Paul Sharits’s N:O:T:H:I:N:G’ - Barnaby Dicker
PART 3: TECHNOLOGY, APPARATUS, AFFECT
8. ‘Intermediality and the Origins of Cinema’ - Boris Wiseman
9. 'Cinematography’s Blind Spots: Artistic Exploitations of the Film Frame’ - Gabriele Jutz
10. ‘Filming and Feeling between the Arts: Pascale Breton, Suite Armoricaine and Eugène Green, Le Fils de Joseph’ - Marion Schmid
PART 4: INTERMEDIAL CREATION
11. ‘What Does a Dance Filmmaker See?’ - Adam Roberts
12. ‘Performance, Moving Image, Installation: the Making of Body of War and Faith’ - Isabel Rocamora
13. ‘Muybridge's Disobedient Horses: Non-Stop Stop-Motion’ - Anna Vasof
14. ‘A Dialogue With Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror’ - Sarah Pucill
Index
