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.

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.