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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Electronic & video art
Apocalypse-cinema is not only the end of time that has so often
been staged as spectacle in films like 2012, The Day After
Tomorrow, and The Terminator. By looking at blockbusters that play
with general annihilation while also paying close attention to
films like Melancholia, Cloverfield, Blade Runner, and Twelve
Monkeys, this book suggests that in the apocalyptic genre, film
gnaws at its own limit. Apocalypse-cinema is, at the same time and
with the same double blow, the end of the world and the end of the
film. It is the consummation and the (self-)consumption of cinema,
in the form of an acinema that Lyotard evoked as the nihilistic
horizon of filmic economy. The innumerable countdowns, dazzling
radiations, freeze-overs, and seismic cracks and crevices are but
other names and pretexts for staging film itself, with its economy
of time and its rewinds, its overexposed images and fades to white,
its freeze-frames and digital touch-ups. The apocalyptic genre is
not just one genre among others: It plays with the very conditions
of possibility of cinema. And it bears witness to the fact that,
every time, in each and every film, what Jean-Luc Nancy called the
cine-world is exposed on the verge of disappearing. In a Postface
specially written for the English edition, Szendy extends his
argument into a debate with speculative materialism.
Apocalypse-cinema, he argues, announces itself as cinders that
question the "ultratestimonial" structure of the filmic gaze. The
cine-eye, he argues, eludes the correlationism and anthropomorphic
structure that speculative materialists have placed under critique,
allowing only the ashes it bears to be heard.
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Picture Cycle
(Paperback)
Masha Tupitsyn, Kevin Killian
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R534
R436
Discovery Miles 4 360
Save R98 (18%)
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A multigenre investigation of the personal and cultural annals of
memory, identity, and spectatorship, both on and off the screen. In
exchange for studying what each fraudulent cell looks like under a
merciless commercial and commodified lens, viewers enable
late-capitalism to run more smoothly by calling in with their
votes, as is the case with Reality TV. From the inside, secrecy
appears eradicated, as though secrets or coded transparencies
comprise the totality of injustice, rather than just one part.
Justice is reduced to a vantage point. We see and we see and we see
ad infinitum. -from Picture Cycle With her debut collection Beauty
Talk & Monsters (2007), Masha Tupitsyn established a new genre
of hybrid writing that melded film criticism, philosophy, and
autobiography. Picture Cycle continues Tupitsyn's multigenre
investigation of the personal and cultural annals of memory,
identity, and spectatorship, both on and off the screen. Composed
over a ten-year period, Picture Cycle is a pioneering collection
whose sharp and knowing vignette-like essays form a critical
autobiography of the daily images in our lives. Deftly covering a
range of theoretical and cinematic frameworks, Tupitsyn traces here
the quickly vanishing line between onscreen and offscreen,
predigital and postdigital. The result is a unique intellectual
study of the uncanny formation of our life's biographies through
images.
A generously illustrated look at the intricate narrative threads of
three of the artist's earliest works, and their continued resonance
today Celebrated for works blending performance, video, and
sculpture, Matthew Barney has created complex narratives that
emerge across series since his earliest exhibitions. Matthew
Barney: OTTO Trilogy is the first book to trace the progression of
three significant early projects-Facility of INCLINE, Facility of
DECLINE, and OTTOshaft- and to reveal the narrative system that
links them. Titled after former football player Jim Otto, the
series explores the training, discipline, and physical limits of
the body alongside questions of sexual difference and desire.
Featuring an illuminating introduction by Nancy Spector; an essay
by Maggie Nelson on the works' exploration of psychology, bodies,
image-making, narrative, and abstraction; and a new text by the
artist, this generously illustrated volume includes previously
unpublished artist's sketches, behind-the-scenes photographs,
research material, and video stills. It is the definitive
publication on this important series, and offers a key to
understanding many of the themes that thread throughout Barney's
oeuvre. Distributed for the Gladstone Gallery Exhibition Schedule:
Gladstone Gallery, New York (09/08/16-10/22/16)
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Bliss
(Paperback)
Ashley Alizor
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R939
Discovery Miles 9 390
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Ships in 10 - 15 working days
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UDON Entertainment is back with an all-new classy compilation of
the creative studio's Capcom artwork! This prestigous 300-page
hardcover volume gathers UDON's artists' renditions of the casts of
Street Fighter, Mega Man, Darkstalkers, and other classic Capcom
franchises. Included are comic covers, video game endings,
promotional art, costume designs, tribute art, and much more!
While cinema is a medium with a unique ability to "watch life"
and "write movement," it is equally singular in its portrayal of
death. The first study to unpack American cinema's long history of
representing death, this book considers movie sequences in which
the process of dying becomes an exercise in legibility and
exploration for the camera and connects the slow or static process
of dying to formal film innovation throughout the twentieth
century.
C. Scott Combs analyzes films that stretch from cinema's origins
to the end of the twentieth century, looking at attractions-based
cinema, narrative films, early sound cinema, and films using
voiceover or images of medical technology. Through films such as
Thomas Edison's "Electrocuting an Elephant" (1903), D. W.
Griffith's "The Country Doctor" (1909), John Ford's "How Green Was
My Valley" (1941), Billy Wilder's "Sunset Boulevard" (1950),
Stanley Kubrick's " 2001: A Space Odyssey" (1968), and Clint
Eastwood's "Million Dollar Baby" (2004), Combs argues that the end
of dying occurs more than once, in more than one place. Working
against the notion that film cannot capture the end of life because
it cannot stop moving forward, that it cannot induce the
photographic fixity of the death instant, this book argues that the
place of death in cinema is persistently in flux, wedged between
technological precision and embodied perception. Along the way,
Combs consolidates and reconceptualizes old and new debates in film
theory.
The color films of French film director Robert Bresson (1901-99)
have largely been neglected, despite the fact that Bresson himself
considered them to be more fully realized reflections of his
aspirations for the cinema. This study presents a revised and
revitalized Bresson, comparing his late style to painterly
innovations in color, light, and iconography from the Middle Ages
to the present, to abstract painting in France after World War II,
and to affinities with the avant-garde movements of Surrealism,
Constructivism, and Minimalism. Drawing on media archeology, this
study views Bresson's work through such allied visual arts
practices as painting, photography, sculpture, theater, and dance.
"Cinematic Appeals" follows the effect of technological
innovation on the cinema experience, specifically the introduction
of widescreen and stereoscopic 3D systems in the 1950s, the rise of
digital cinema in the 1990s, and the transition to digital 3D since
2005. Widescreen cinema promised to draw the viewer into the world
of the screen, enabling larger-than-life close-ups of already
larger-than-life actors. This technology fostered the illusion of
physically entering a film, enhancing the semblance of realism.
Alternatively, the digital era was less concerned with the viewer's
physical response and more with information flow, awe, and the
reevaluation of spatiality and embodiment. This study ultimately
shows how cinematic technology and the human experience shape and
respond to each other over time.
Darksiders: Genesis is an action/adventure game that tears its way
through hordes of demons, angels, and everything in-between on its
way to Hell and back with guns blazing and swords swinging.
Showcasing the introduction of the Horseman Strife and the return
of his brother War, Genesis gives players their first look at the
world of Darksiders before the events of the Apocalypse. The Art of
Darksiders Genesis gathers the epic artwork behind this unique new
installment in the franchise, and includes character designs, rough
concepts, environments, storyboards, and more. Darksiders Genesis
also heralds the return of series creator Joe Madureira (Battle
Chasers, Uncanny X-men) alongside his development studio, Airship
Syndicate.
This book introduces an archaeological approach to the study of
media - one that sifts through the evidence to learn how media were
written about, used, designed, preserved, and sometimes discarded.
Edited by Erkki Huhtamo and Jussi Parikka, with contributions from
internationally prominent scholars from Europe, North America, and
Japan, the essays help us understand how the media that predate
today's interactive, digital forms were in their time contested,
adopted and embedded in the everyday. Providing a broad overview of
the many historical and theoretical facets of Media Archaeology as
an emerging field, the book encourages discussion by presenting a
full range of different voices. By revisiting 'old' or even 'dead'
media, it provides a richer horizon for understanding 'new' media
in their complex and often contradictory roles in contemporary
society and culture.
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