Author: Publisher:
ISBN:
Category :
Languages : fr
Pages : 2
Book Description
Document concernant le film "Sublime mensonge", 1926
Author: Documents concernant le film "Sublime beauté", 1926
Author: Document concernant le film "The man who found himself", 1926
Author: Document concernant le film "Hollywood", 1926
Author: Documents concernant le film "la Tour des mensonges", d'après un roman de Selma Lagerlöf, 1926
Author: Love as Passion
Author: Niklas LuhmannPublisher: Stanford University Press
ISBN: 9780804732536
Category : Psychology
Languages : en
Pages : 268
Book Description
Originally published: Cambridge, Mass.: Harvard University Press, 1986.
Signatures of the Visible
Author: Fredric JamesonPublisher: Routledge
ISBN: 1136760415
Category : Performing Arts
Languages : en
Pages : 358
Book Description
In such celebrated works as Postmodernism: The Cultural Logic of Late Capitalism, Fredric Jameson has established himself as one of America‘s most observant cultural commentators. In Signatures of the Visible, Jameson turns his attention to cinema - the artform that has replaced the novel as the defining cultural form of our time. Histori
A Short History of Film, Third Edition
Author: Wheeler Winston DixonPublisher: Rutgers University Press
ISBN: 0813595169
Category : Art
Languages : en
Pages : 525
Book Description
With more than 250 images, new information on international cinema—especially Polish, Chinese, Russian, Canadian, and Iranian filmmakers—an expanded section on African-American filmmakers, updated discussions of new works by major American directors, and a new section on the rise of comic book movies and computer generated special effects, this is the most up to date resource for film history courses in the twenty-first century.
Bonnard
Author: Raymond CogniatPublisher:
ISBN: 9789070061494
Category : Painters
Languages : en
Pages : 94
Book Description
No Medium
Author: Craig DworkinPublisher: MIT Press
ISBN: 0262312719
Category : Art
Languages : en
Pages : 228
Book Description
Close readings of ostensibly “blank” works—from unprinted pages to silent music—that point to a new understanding of media. In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg's Erased De Kooning Drawing to the artist Nick Thurston's erased copy of Maurice Blanchot's The Space of Literature (in which only Thurston's marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage's 4'33”, Dworkin links Cage's composition to Rauschenberg's White Paintings, Ken Friedman's Zen for Record (and Nam June Paik's Zen for Film), and other works, offering also a “guide to further listening” that surveys more than 100 scores and recordings of “silent” music. Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.