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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Electronic & video art
Robert Frank's film One Hour is a single-take of Frank and actor
Kevin O'Connor either walking or riding in the back of a mini-van
through a few blocks of Manhattan's Lower East side. Shot between
3:45 and 4:45 pm on 26 July, 1990 the film presents the curious
experience of eavesdropping involuntarily on strangers. It appears
to be a document of a journey but is also a kind of stream of
consciousness retracing the same patterns and spaces. This book is
a reprint of a little-known Frank publication first issued by
Hanuman Books in 1992, a tiny book, comprising mainly a
transcription of the dialogue heard but also two pages of credits:
half a dozen production or crew workers and 27 actors. Unravelling
the apparent documentary nature of the film, there is also an
acknowledgement that the film has a script (by Frank and his
assistant, Michal Rovner), that a conversation heard in a diner is
written by Mika Moses, and that Peter Orlovsky's lines (intercepted
by Frank roughly halfway through the hour, in front of the Angelika
Cinema on Houston Street) are "total improvisation." The film C'est
Vrai (One Hour) will be published as a DVD as part of Steidl's
Robert Frank The Complete Film Works, the first volume of which is
published this season.
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Dark Designs
(Paperback)
Micah Taylor; Illustrated by Nadia Chamorra
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R298
Discovery Miles 2 980
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Ships in 10 - 15 working days
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A phenomenological investigation into new media artwork and its
relationship to history What does it mean to live in an era of
emerging digital technologies? Are computers really as
antihistorical as they often seem? Drawing on phenomenology's
investigation of time and history, Sensations of History uses
encounters with new media art to inject more life into these
questions, making profound contributions to our understanding of
the digital age in the larger scope of history. Sensations of
History combines close textual analysis of experimental new media
artworks with in-depth discussions of key texts from the
philosophical tradition of phenomenology. Through this inquiry,
author James J. Hodge argues for the immense significance of new
media art in examining just what historical experience means in a
digital age. His beautiful, aphoristic style demystifies complex
theories and ideas, making perplexing issues feel both graspable
and intimate. Highlighting underappreciated, vibrant work in the
fields of digital art and video, Sensations of History explores
artists like Paul Chan, Phil Solomon, John F. Simon, and Barbara
Lattanzi. Hodge's provocative interpretations, which bring these
artists into dialogue with well-known works, are perfect for
scholars of cinema, media studies, art history, and literary
studies. Ultimately, Sensations of History presents the compelling
case that we are not witnessing the end of history-we are instead
seeing its rejuvenation in a surprising variety of new media art.
Hans P. Bacher is acknowledged as one of the greats of production
design for animation, He has been given access to Disney's archives
to uncover eye-popping examples of both his own work and that of
his colleagues. Featured are illustrations from 'Bambi', 'Mulan',
'Beauty and the Beast', 'Brother Bear' and many more.
From gaming consoles to smartphones, video games are everywhere
today, including those set in historical times and particularly in
the ancient world. This volume explores the varied depictions of
the ancient world in video games and demonstrates the potential
challenges of games for scholars as well as the applications of
game engines for educational and academic purposes. With successful
series such as "Assassin's Creed" or "Civilization" selling
millions of copies, video games rival even television and cinema in
their role in shaping younger audiences' perceptions of the past.
Yet classical scholarship, though embracing other popular media as
areas of research, has so far largely ignored video games as a
vehicle of classical reception. This collection of essays fills
this gap with a dedicated study of receptions, remediations and
representations of Classical Antiquity across all electronic gaming
platforms and genres. It presents cutting-edge research in classics
and classical receptions, game studies and archaeogaming, adopting
different perspectives and combining papers from scholars, gamers,
game developers and historical consultants. In doing so, it
delivers the first state-of-the-art account of both the wide array
of 'ancient' video games, as well as the challenges and rewards of
this new and exciting field.
Rejecting broad-brush definitions of post-revolutionary art, What
People Do with Images provides a nuanced account of artistic
practice in Iran and its diaspora during the first part of the
twenty-first century. Careful attention is paid to the effects of
shifts in internal Iranian politics; the influence of US elections,
travel bans and sanctions; and global media sensationalism and
Islamophobia. Drawing widely on critical theory from both cultural
studies and anthropology, Mazyar Lotfalian details an ecosystem for
artistic production, covering a range of media, from performance to
installations and video art to films. Museum curators, it is
suggested, have mistakenly struggled to fit these works into their
traditional-modern-contemporary schema, and political commentators
have mistakenly struggled to position them as resistance,
opposition or counterculture to Islam or the Islamic Republic.
Instead, the author argues that creative artworks neutralize such
dichotomies, working around them, and playing a sophisticated game
of testing and slowly shifting the boundaries of what is
acceptable. They do so in part by neutralizing the boundaries of
what is inside and outside the nation-state, travelling across the
transnational circuits in which the domestic and diasporic arenas
reshape each other. While this book offers the valuable opportunity
to gain an understanding of the Iranian art scene, it also has a
wider significance in asking more generally how identity politics
is mediated by creative acts and images within transnational
socio-political spheres.
Over the course of his career Werner Herzog, known for such
visionary masterpieces as Aguirre: The Wrath of God (1972) and The
Enigma of Kaspar Hauser (1974), has directed almost sixty films,
roughly half of which are documentaries. And yet, in a statement
delivered during a public appearance in 1999, the filmmaker
declared: "There are deeper strata of truth in cinema, and there is
such a thing as poetic, ecstatic truth. It is mysterious and
elusive, and can be reached only through fabrication and
imagination and stylization." Ferocious Reality is the first book
to ask how this conviction, so hostile to the traditional tenets of
documentary, can inform the work of one of the world's most
provocative documentarians. Herzog, whose Cave of Forgotten Dreams
was perhaps the most celebrated documentary of 2010, may be the
most influential filmmaker missing from major studies and histories
of documentary. Examining such notable films as Lessons of Darkness
(1992) and Grizzly Man (2005), Eric Ames shows how Herzog dismisses
documentary as a mode of filmmaking in order to creatively
intervene and participate in it. In close, contextualized analysis
of more than twenty-five films spanning Herzog's career, Ames makes
a case for exploring documentary films in terms of performance and
explains what it means to do so. Thus his book expands the field of
cinema studies even as it offers an invaluable new perspective on a
little studied but integral part of Werner Herzog's extraordinary
oeuvre.
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