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Cinematic Intermediality: Theory and Practice (Edinburgh Studies in Film and Intermediality) - Hardcover
Inhaltsangabe
This edited collection proposes new directions for understanding cinematic intermediality, mapping out innovative approaches to film’s relationship with some of its most influential artistic predecessors in the fields of performance, sculpture, painting, photography and dance. With essays by leading researchers and practitioners, this book investigates cinema's productive synergies and crossovers with the other arts through a broad range of avant-garde and experimental work. Mapping a trajectory from pre-cinema to the digital era, the book considers the impact of technological materiality on intermedial expression, incorporating both mainstream and experimental practice, world cinema and peripheral cinemas. Bridging the gap between theory and practice, it opens up new pathways for thinking about how intermediality, as both a creative method and an interpretative paradigm, might be explored alongside probing questions of what cinema is, has been and can be.
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Über die Autorinnen und Autoren
Kim Knowles is Lecturer in Alternative and Experimental Film at Aberystwyth University and Experimental Film Programmer at the Edinburgh International Film Festival. She is the author of Experimental Film and Photochemical Practices (2020) and A Cinematic Artist: The Films of Man Ray (2009/12).
Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications on film include Intermedial Dialogues: The French New Wave and the Other Arts (2019), Chantal Akerman (2010), and Proust at the Movies (2005, with Martine Beugnet).
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‘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.’Lucia Ruprecht, University of CambridgeAs 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 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.Kim Knowles is Lecturer in Alternative and Experimental Film at Aberystwyth University and Experimental Film Programmer at the Edinburgh International Film Festival. She is the author of Experimental Film and Photochemical Practices (2020) and A Cinematic Artist: The Films of Man Ray (2012).Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications on film include Intermedial Dialogues: The French New Wave and the Other Arts (2019), Chantal Akerman (2010) and Proust at the Movies (2005, with Martine Beugnet).Cover image: still from Confessions to the Mirror (Sarah Pucill, 2016) courtesy of the artist
Aus dem Klappentext
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. Lucia Ruprecht, University of CambridgeAs 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 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. Kim Knowles is Lecturer in Alternative and Experimental Film at Aberystwyth University and Experimental Film Programmer at the Edinburgh International Film Festival. She is the author of Experimental Film and Photochemical Practices (2020) and A Cinematic Artist: The Films of Man Ray (2012).Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications on film include Intermedial Dialogues: The French New Wave and the Other Arts (2019), Chantal Akerman (2010) and Proust at the Movies (2005, with Martine Beugnet).Cover image: still from Confessions to the Mirror (Sarah Pucill, 2016) courtesy of the artist
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Cinematic Intermediality: Theory and Practice (Edinburgh Studies in Film and Intermediality)
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Zustand: New. This edited collection proposes new directions for understanding cinematic intermediality, mapping out innovative approaches to film s relationship with some of its most influential artistic predecessors in the fields of performance, sculpture, painting, ph. Artikel-Nr. 396749929
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Cinematic Intermediality : Theory and Practice
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Edinburgh University Press Feb 2021, 2021
ISBN 10: 1474446345
ISBN 13: 9781474446341
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Buch. Zustand: Neu. Neuware - 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 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.Kim Knowles lectures in Alternative and Experimental Film at Aberystwyth University and curates the Black Box experimental strand of the Edinburgh International Film Festival.Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Artikel-Nr. 9781474446341
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