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This book distinguishes itself from earlier books on David Lynch by
taking in-depth consideration of his entire oeuvre. Besides his
films and the Twin Peaks series, David Lynch: Blurred Boundaries
includes discussions of Lynch's paintings and drawings, music
videos, commercials, short experimental works, digital projects on
the YouTube channel David Lynch Theater and the Internet
documentary The Interview Project, as well as the exhibition The
Air is on Fire, which Jerslev regards as one of Lynch's main works.
David Lynch: Blurred Boundaries offers a view of Lynch's total
work, in which one medium or genre is no more important than the
other. It discusses the ways in which Lynch has worked throughout
his career with different art forms and has right from the start
experimented with the blurring of boundaries between media and
genres. And it discusses ways Lynch creates atmospheres by
different audio-visual and visual means.
This book distinguishes itself from earlier books on David Lynch by
taking in-depth consideration of his entire oeuvre. Besides his
films and the Twin Peaks series, David Lynch: Blurred Boundaries
includes discussions of Lynch's paintings and drawings, music
videos, commercials, short experimental works, digital projects on
the YouTube channel David Lynch Theater and the Internet
documentary The Interview Project, as well as the exhibition The
Air is on Fire, which Jerslev regards as one of Lynch's main works.
David Lynch: Blurred Boundaries offers a view of Lynch's total
work, in which one medium or genre is no more important than the
other. It discusses the ways in which Lynch has worked throughout
his career with different art forms and has right from the start
experimented with the blurring of boundaries between media and
genres. And it discusses ways Lynch creates atmospheres by
different audio-visual and visual means.
Andre Bazin's famous article, 'Pour un cinema impur: defense de
l'adaptation', was first translated into English simply as 'In
Defence of Mixed Cinema', probably to avoid any uncomfortable
sexual or racial resonances the word 'impure' might have. 'Impure
Cinema' goes back to Bazin's original title precisely for its
defence of impurity, applying it on the one hand to cinema's
interbreeding with other arts and on the other to its ability to
convey and promote cultural diversity. In contemporary progressive
film criticism, ideas of purity, essence and origin have been
superseded by favourable approaches to 'hybridization',
'transnationalism', 'multiculturalism' and cross-fertilizations of
all sorts. 'Impure Cinema' builds on this idea in novel and
exciting ways, as it draws on cinema's combination of intermedial
and intercultural aspects as a means to bridge the divide between
studies of aesthetics and culture. Film is revealed here as the
location par excellence of media encounters, mutual questioning and
self-dissolution into post-medium experiments. Most importantly,
the book argues, film's intermedial relations can only be properly
understood if their cultural determinants are taken into account.
Scholars and students of film, cinephiles and students of the arts
will discover here unexpected connections across many artistic
practices.
Andre Bazin's famous article, 'Pour un cinema impur: defense de
l'adaptation', was first translated into English simply as 'In
Defence of Mixed Cinema', probably to avoid any uncomfortable
sexual or racial resonances the word 'impure' might have. Impure
Cinema goes back to Bazin's original title precisely for its
defense of impurity, applying it on the one hand to cinema's
interbreeding with other arts and on the other to its ability to
convey and promote cultural diversity. In contemporary progressive
film criticism, ideas of purity, essence and origin have been
superseded by favorable approaches to 'hybridization',
'transnationalism', 'multiculturalism' and cross-fertilizations of
all sorts. Impure Cinema builds on this idea in novel and exciting
ways, as it draws on cinema's combination of intermedial and
intercultural aspects as a means to bridge the divide between
studies of aesthetics and culture. Film is revealed here as the
location par excellence of media encounters, mutual questioning and
self-dissolution into post-medium experiments. Most importantly,
the book argues, film's intermedial relations can only be properly
understood if their cultural determinants are taken into account.
Scholars and students of film, cinefiles and students of the arts
will discover here unexpected connections across many artistic
practices.
New forms of art, culture and theory have recently emerged through
engagements with the realities of the social world and everyday
life, which are not primarily about representation but rather about
participation and narration. These new forms are based on viewer
responses and engagement, thus performatively creating open-ended
situations rather than autonomous works with closure. Performative
theory, drawing mostly on studies of speech acts, proves adequate
to describe and analyse these new forms of art and culture and
their engagement with the real. This book scrutinises a range of
contemporary works that experiment with viewer participation and
processuality within art and culture, as well as it takes issue
with theories of performativity and performance. 'Performative
Realism' contains contributions from leading Danish scholars
working within a broad range of academic fields such as Media
Studies, Art History, Theatre Studies and Cultural Studies. The
issues addressed covers Scandinavian as well as international
installation art, performance art, theatre, photography, movies,
literature and role-playing.
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