In Archiveology Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology-the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers-provides ways to imagine the past and the future. Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines a range of films alongside Benjamin's conceptions of memory, document, excavation, and historiography. She shows how city films such as Nicole Vedres's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays Itself (2003) reconstruct notions of urban life and uses Christian Marclay's The Clock (2010) to draw parallels between critical cinephilia and Benjamin's theory of the phantasmagoria. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film. In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory.

Orphan Black: Performance, Gender, Biopolitics is an edited collection that covers the areas in which the series has generated the most academic interest: performance and technology; gender and reproduction; biopolitics and community. Chapters explore the digital innovations and technical interactions between human and machine that allow the show to challenge conventional notions of performance and identity, while others address family themes and Orphan Black's own textual genealogy within the contexts of (post-)evolutionary science, reproductive technology and the politics of gender. Still others extend that inquiry on family to the broader question of community in a 'posthuman' world of biopolitical power; here, scholars mobilize philosophy, history of science and literary theory to analyze how Orphan Black depicts resistance to the many forms of power that attempt to capture, monitor and shape life.

Go behind the scenes of the Harry Potter film series with this compendium of stunning blueprints depicting spellbinding magical wizarding world locations from all eight films. Harry Potter: The Blueprints showcases the work of the artists who laid the foundation for the visually enchanting buildings, homes, rooms, and settings from all eight Harry Potter films. ICONIC LOCATIONS: 260 pages of stunningly detailed blueprints and in-depth commentary on creating the architecture of beloved Harry Potter buildings, homes, settings, and locations, including Hogwarts Castle, the Triwizard Tournament, Hogsmeade, and more. FILMMAKING SECRETS: Learn how Hogwarts and other locations in the wizarding world went from sketch to screen. DELUXE DETAILS: This generously sized volume beautifully showcases rare and unique sketches, notes, drafts, and photos.

Library of Light brings together established and emerging practitioners who work with light, as material or subject, from theatre, music, performance, fine art, photography, film, public art, holography, digital media, architecture, and the built environment, together with curators, producers and other experts. Structured around twenty-five interviews and four thematic essays - Political Light, Mediating Light, Performance Light and Absent Light - the book aims to broaden our understanding of light as a creative medium and examines its impact on our cultural history and the role it plays in the new frontiers of art, design and technology. Illustrated with colour photographs and images of installations, sculptures, architectural projects, interventions in public space and works in virtual reality, the book includes interviews and contributions by: David Batchelor, Rana Begum, Robin Bell, Jason Bruges (Jason Bruges Studio), Anne Bean and Richard Wilson (The Bow Gamelan), Laura Buckley, Mario Caeiro, Paule Constable, Ernest Edmonds, Angus Farquhar (NVA), Rick Fisher, Susan Gamble and Michael Wenyon, Jon Hendricks, ISO Studio, Susan Hiller, Michael Hulls and Russell Maliphant, Cliff Lauson, Chris Levine, Michael Light, Joshua Lightshow, Liliane Lijn, Rafael Lozano-Hemmer, Manu Luksch, Mark Major (Speirs + Major), Helen Marriage (Artichoke), Anthony McCall, Gustav Metzger, Haroon Mirza, Yoko Ono, Katie Paterson, Andrew Pepper, Mark Titchner, Andi Watson.

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!

The book illustrates that supposedly outmoded, analog practices in contemporary photographic and cinematic art not only have maximum actuality, but also critical potential. Using the example of artists' practices that are motivated by the idea of the photographic and/or the cinematic but do not necessarily lead to photographs or films, the book shows how, in multiple ways, the display tool-the apparatus-can be explored, taken apart, reflected, modified, and newly arranged. The contributions that have also emerged from cooperative efforts between artists and scientists focus on the required technical/material processes and demonstrate that knowledge of medial difference is also socio-politically relevant.

Unlike being in class or in an enthusiast's group, creating alone means critiquing alone. There is so much information available demonstrating where you might be going wrong, yet assessing your own work still feels overwhelming. This follow-up title to the bestselling Art Fundamentals (2nd ed.) provides the knowledge, framework, and solutions needed to critique and improve your own work. The previous book covered shape and light, color, perspective and depth, composition, and anatomy. Art Fundamentals: Theory in Practice, equips you to assess how well you have executed the fundamentals, identify problems, and solve them. Experts reveal how the fundamentals can go wrong and how to spot problems in one's own work. They not only explain how to improve, but also how to assess if the revised version is a true refinement. To improve beyond the fundamentals and take your art to the next level, subjects such as infusing your work with emotion, mood, and storytelling are explored. Case studies show professional artists critiquing their own work. This is a book to keep by your side while drawing and painting, allowing you to continually critique, fix, and improve your skills and take your art to the next level.

Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today s digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists. * Showcases the critical and theoretical approaches in this fast-moving discipline * Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions * Provides a platform for the most influential voices shaping the current discourse surrounding digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists * Tackles digital art s primary practical challenges how to present, document, and preserve pieces that could be erased forever by rapidly accelerating technological obsolescence * Up-to-date, forward-looking, and critically reflective, this authoritative new collection is informed throughout by a deep appreciation of the technical intricacies of digital art

Film criticism originally published at the New Ledger. Includes articles on the unexpected brilliance of Michael Bay, Roman Polanski and the necessity of evil, the artistic collapse of Michael Mann, and others.

Seeing new media art as an entry point for better understanding of technology and worldmaking futures In this challenging work, a leading authority on new media art examines that curatorial and aesthetic landscape to explore how art resists and rewires the political and economic structures that govern technology. How do inventive combinations of artistic and theoretical improvisation counter the extent to which media art remains at risk, not just from the quarantines of a global pandemic but also from the very viral and material conditions of technology? How does global media art speak back to the corporate closures of digital euphoria as clothed in strategies of digital surveillance, ecological deprivation, and planned obsolescence? In Technics Improvised, Timothy Murray asks these questions and more. At the intersection of global media art, curatorial practice, tactical media, and philosophy, Murray reads a wide range of creative performances and critical texts that envelop artistic and digital materials in unstable, political relations of touch, body, archive, exhibition, and technology. From video to net art and interactive performance, he considers both canonical and unheralded examples of activist technics that disturb the hegemony of biopolitical/digital networks by staging the very touch of the unsettling discourse erupting from within. In the process, critical dialogues emerge between a wide range of artists and theorists, from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien, Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy, Elizabeth Povinelli, Jean-Francois Lyotard, Erin Manning, Achille Mbembe, and Samuel Weber. Brilliantly conceived and argued and eloquently written, Technics Improvised points the way to how artistic and theoretical practice can seize on the improvisational accidents of technics to activate creativity, thought, and politics anew.

Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood's influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood's insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today's hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include "the paleocybernetic age," "intermedia," the "artist as design scientist," the "artist as ecologist," "synaesthetics and kinesthetics," and "the technosphere: man/machine symbiosis." Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller-a perfectly cut gem of countercultural thinking in itself-places Youngblood's radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.

In the movies, government often finds itself in a variety of roles from villain to supporting cast, and rarely, if ever, the hero. A frequent component of that role is the bureaucracy and as documented in Civil Servants on the Silver Screen: Hollywood's Depiction of Government and Bureaucrats, bureaucrats are routinely found on screen. This book investigates how government bureaucrats are portrayed in the top ten box office grossing films from 2000 through 2015. Perhaps unsurprisingly, government is generally portrayed poorly, while individual government bureaucrats are typically depicted positively. These images of government on screen are particularly important given the ability of movies to influence the attitudes and perceptions of its audiences. The nature of these depictions and potential implications are considered as bureaucrats in film are categorized.

Want to learn valuable secrets about making your own low-budget films? This book is at once Tori and Matthew Butler-Hart's personal account of their ten-year adventure running their own film production company and a manual loaded with tips on how to survive-and thrive-in the modern independent movie business. Since founding Fizz and Ginger Films in 2009, Tori and Matthew have spent the past decade writing, producing, directing, line producing, and promoting both their own and other people's films. In Full to the Brim with Fizz, Ginger and Fierce Determination, the duo looks back and takes stock of what they've learned in their sometimes turbulent creative journey. Rather than a step-by-step guide of how-tos, Tori and Matthew offer real-life lessons in making independent feature films, including useful tips a pitfalls to avoid. From the very first stages of writing a screenplay to securing financing, producing and shooting the movie, post-production and distribution-each area is explored and explained through anecdotes and interviews with other professionals involved in the industry, including Sir Ian McKellen, Stephen Fry, and legendary producer Margaret Matheson. Full to the Brim with Fizz, Ginger and Fierce Determination is a must-read for any young actor, writer, director, producer, or all of the above, hoping to tell their own stories through the magical art of moving pictures.

The Building as Screen: A History, Theory, and Practice of Massive Media describes, historicizes, theorizes, and creatively deploys massive media -- a set of techno-social assemblages and practices that include large outdoor projections, programmable architectural facades, and urban screens -- in order to better understand their critical and creative potential. Massive media is named as such not only because of the size and subsequent visibility of this phenomenon but also for its characteristic networks and interactive screen and cinema-like qualities. Examples include the programmable lighting of the Empire State Building and the interactive projections of Montreal's Quartier des spectacles, as well as a number of works created by the author himself. This book argues that massive media enables and necessitates the development of new practices of expanded cinema, public data visualization, and installation art and curation that blend the logics of urban space, monumentality, and the public sphere with the aesthetics and affordances of digital information and the moving image.

In The Genius of the System, Thomas Schatz recalls Hollywood's Golden Age from the 1920s until the dawn of television in the late 1940s, when quality films were produced swiftly and cost efficiently thanks to the intricate design of the system. Schatz takes us through the rise and fall of individual careers and the making-and unmaking-of movies such as Frankenstein, Casablanca, and Hitchcock's Notorious. Through detailed analysis of major Hollywood moviemakers including Universal, Warner Bros., and MGM, he reminds us of a time when studios had distinct personalities and the relationship between contracts and creativity was not mutually exclusive.

In the 1990s, Shirin Neshat's startling black-and-white videos of Iranian women won enormous praise for their poetic reflections on post-revolutionary life in her native country. Writing in the New Yorker, Peter Schjeldahl called her multi-screen video meditations on the culture of the chador in Islamic Iran "the first undoubtable masterpieces of video installation." Over the next twenty-five years Neshat's work has continued its passionate engagement with ancient and recent Iranian history, extending its reach to the universal experience of living in exile and the human impact of political revolution. This book connects Neshat's early video and photographic works-including haunting films such as Rapture, 1999 and Tooba, 2002-to her current projects which focus on the relation of home to exile and dreams such as The Home of My Eyes, 2015, and a new, never-before-seen project, Land of Dreams, 2019. It includes numerous stills from her series, Dreamers, in which she documents the lives of outsiders and exiles in the United States. This volume also includes essays by prominent Iranian cultural figures as well as an interview with the artist. Neshat has always been a voice for those whose individual freedoms are under attack. With this monograph, her audience will gain a deeper understanding of Neshat's own emotional, psychological, and political identities, and how they have helped her create compassionate portraits of the fraught and delicate spaces between attachment and alienation.

In Poetic Operations artist and theorist micha cardenas considers contemporary digital media, artwork, and poetry in order to articulate trans of color strategies for safety and survival. Drawing on decolonial theory, women of color feminism, media theory, and queer of color critique, cardenas develops a method she calls algorithmic analysis. Understanding algorithms as sets of instructions designed to perform specific tasks (like a recipe), she breaks them into their component parts, called operations. By focusing on these operations, cardenas identifies how trans and gender-non-conforming artists, especially artists of color, rewrite algorithms to counter violence and develop strategies for liberation. In her analyses of Giuseppe Campuzano's holographic art, Esdras Parra's and Kai Cheng Thom's poetry, Mattie Brice's digital games, Janelle Monae's music videos, and her own artistic practice, cardenas shows how algorithmic analysis provides new modes of understanding the complex processes of identity and oppression and the intersection of gender, sexuality, and race.