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Elisa Mandelli

Abstract

In the last decades, moving images have become a common feature not only in art museums, but also in a wide range of institutions devoted to the conservation and transmission of memory. This paper focuses on the role of audio-visuals in the exhibition design of history and memory museums, arguing that they are privileged means to achieve the spectacular effects and the visitors’ emotional and “experiential” engagement that constitute the main objective of contemporary museums. I will discuss this topic through the concept of “cinematic attraction,” claiming that when embedded in displays, films and moving images often produce spectacular mises en scène with immersive effects, creating wonder and astonishment, and involving visitors on an emotional, visceral and physical level. Moreover, I will consider the diffusion of audio-visual witnesses of real or imaginary historical characters, presented in Phantasmagoria-like displays that simulate ghostly and uncanny apparitions, creating an ambiguous and often problematic coexistence of truth and illusion, subjectivity and objectivity, facts and imagination.

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Ágnes Pethő

Abstract

The paper proposes to focus on the multiple affordances and intermedial aesthetic of the cinematic tableau seen as a performative space resulting in the impression of watching a painting, a theatre stage, a shop window, a diorama, or a photo-filmic installation in which the play between stillness and motion is accompanied by a reflexive emphasis on media and the senses. Such images, described extensively by David Bordwell in his writings on the evolution of film style, are being re-evaluated through debates on the “tableau form,” “absorption and theatricality” in modern art and photography (e.g. Jean-François Chevrier, Michael Fried). In particular, the aim of this paper is to examine inflections of the cinematic tableau in the films of three contemporary European authors, Corneliu Porumboiu (Romania), Roy Andersson (Sweden) and Joanna Hogg (UK), and relate them to the paradigm of the Dutch interior established in seventeenth-century painting.

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François Giraud

Abstract

Although the intermediality of Jean-Luc Godard’s films of the 1980s has been extensively analysed, especially the tableaux vivants in Passion (1982), little has been said on the intermedial dimension of gesture in the director’s work of this period. The article investigates how the gestural flows in Godard’s First Name: Carmen (Prénom Carmen, 1983) interrelate heterogeneous forms, meanings, arts, and media. The interconnection between the gestures of the musicians who are rehearsing Beethoven’s late string quartets and the lovers’ gestures, inspired by Rodin’s sculptures, gives cohesion to the hybrid aesthetics of the film. Gesture is the element which incorporates, develops, and sets in motion the features of the other arts, not only by creating an in-between space that forges links between media, but especially by exhibiting the process of making itself. Indeed, the relationship between the performing, musical, and visual arts is made visible in the exhibition of the corporeal effort of making (whether it be making music, film, or love) that tends to open the boundaries separating the different arts. The aural and visual qualities of gestures communicate between themselves, generating rhythms and forms that circulate in the continuous flow of moving images. By fostering the analogy between the gesture of carving, of performing music, and of making film, Godard highlights what unites the arts in cinema, while feeding on their differences.

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Yvonne Spielmann

-160. London: BFI and Bloomington: Indiana University Press. Fujihata, Masaki and Yuji Dogane. 2007. Botanical Ambulation Training. In Silent Dialogue, exhibition catalogue Tokyo: 2007. Sharits, Paul. 1976 [2008]. Epileptic Seizure Comparison. In: Buffalo Heads. Media Study, Media Practice, Media Pioneers, 1973-1990, eds. Woody Vasulka and Peter Weibel., Cambridge, Mass: MIT Press.

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Lise Skytte Jakobsen

Dimension], Edit no. 4:16-17. Copenhagen: Hotel Pro Forma. Brown. Bill. 2010. Materiality. In Critical Terms for Media Studies, eds. W.J.T. Mitchell and Mark B.N. Hansen. 49-63. Chicago: The University of Chicago Press. Franke. Alwin. 2012. Surface Manifestations. Essay, Exhibition Pamphlet. Copenhagen: Overgaden. <http://www.overgaden.org/exhibition/eng_folder/lll/Hito_UK.pdf. Last accessed 03. 03. 2015. Hoskins. Stephen. 2013. 3D Printing For Artists, Designers and Makers. London and New York: Bloomsbury. Ipser. Carlos, ed. 2012

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Sigrid Lien

, The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy 1917 - 1946, The University of Chicago Press, Chicago and London 1997. Nakov, Andrei, “Stylistic Changes - Painting Without a Referent”, in: David Elliott, (ed.), Alexander Rodchenko, exhibition catalogue, Museum of Modern Art, Oxford 1979. Phillipi, Simone (ed.), 20th Century Photography. Museum Ludwig, Cologne, Taschen, Köln 1996. Riordan, James, “Worker Sport Within a Worker State”, in: Krüger, Arnd and Riordan, James (red.), The Story of Worker Sport, Human

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“The Best Cinema System in the World”

The Municipal Cinema System in Norway: Historical and Comparative Perspectives

Dag Asbjørnsen and Ove Solum

. KKL (1976) Kinoen i dagens samfunn, Oslo. Mangset, Per (1992) Kulturliv og forvaltning. Oslo: Universitetsforlaget. Mehlum, Jan (1995) Det norske kinosystemet. Børs eller katedral, Z nr. 2, Oslo. Mehlum, Jan (1996) Kinosystemet under press, in Bjørkås & Mangset (red.) Kunnskap om kulturpolitikk. Oslo: Norges Forskningsråd. MediaSalles (1998a) European Cinema Yearbook 1998. Milano: MediaSalles. MediaSalles (1998b) White Book of the European Exhibition Industry, Vol 2 1998b, URL: http

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Marlène Monteiro

Rockhill. London & New York: Continuum. Røsaak, Eivind. 2006. Figures of Sensation: Between Still and Moving Images. In The Cinema of Attractions Reloaded, ed. Wanda Strauven, 321-336. Amsterdam: Amsterdam University Press. Schaeffer, Jean-Marie. 2006. La chair est image [The Flesh is Image]. In Qu’est-ce qu’un corps? [What is a Body?] ed. Stéphane Breton, 58-81. Paris: Flammarion/ Musée du Quai Branly (Exhibition Catalogue.) The Oxford English Dictionary, 2 nd Edition, Volume V. 1991. Oxford: Clarendon Press.

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Natalie Gravenor

. Gender Trouble. New York/London: Routledge. Calvert 22, ed. 2012. NSK Folk Art Catalogue . London. Connell, R. W. 2005 [1995]. Masculinities . Los Angeles/Berkeley: University of California Press. Kowalczyk, Izabela; Dorota Łagodzka and Edyta Zierkiewicz. 2010. Anger of Bojana Pejic. An interview by the occasion of the Gender Check exhibition at the Warsaw’s Zacheta Gallery. August 24. http://www.obieg.pl/artmix/18402 . Last accessed 10. 12. 2014. Laibach. 1982. The 10 items of the Covenant. http://garagemca.org/en/materials/1246?id=14

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Hajnal Király

, Ágnes. 2015. Between Absorption, Abstraction and Exhibition. Inflections of the Cinematic Tableau in the Films of Corneliu Porumboiu, Roy Andersson, and Joanna Hogg. Acta Universitatis Sapientiae: Film and Media Studies vol. 11: 39–76. Pop, Doru. 2010. The Grammar of the New Romanian Cinema. Acta Universitatis Sapientiae: Film and Media Studies vol. 3: 19–40. Popa, Diana. 2011. Probing the Body – Political and Medical (Empty) Authority in the New Romanian Cinema. Acta Universitatis Sapientiae: Film and Media Studies vol. 4: 115–129. Rajevsky