This feminist anthology from Italy offers an enriching perspective on cinema studies. Focusing on women's engagement with political theory and film-making, the book never loses sight of the female experience of cinema. It examines how women have chosen to represent themselves and how they have been represented, and how they deal with the cinematic apparatus, as subjects of production, objects of representation, and spectators. A variety of approaches are offered, ranging from psychoanalysis and semiology to history. With an exhaustive filmography, this anthology of chapters by eminent theorists demonstrates the central importance of recent developments in Italy for the whole spectrum of film and feminist studies.

This feminist anthology from Italy offers an enriching perspective on cinema studies. Focusing on women's engagement with political theory and film-making, the book never loses sight of the female experience of cinema. It examines how women have chosen to represent themselves and how they have been represented, and how they deal with the cinematic apparatus, as subjects of production, objects of representation, and spectators. A variety of approaches are offered, ranging from psychoanalysis and semiology to history. With an exhaustive filmography, this anthology of chapters by eminent theorists demonstrates the central importance of recent developments in Italy for the whole spectrum of film and feminist studies.

Bringing together cultural history, visual studies, and media archaeology, Bruno considers the interrelations of projection, atmosphere, and environment. Projection has long been transforming space, from shadow plays to camera obscuras and magic lantern shows. Our fascination with projection is alive on the walls of museums and galleries and woven into our daily lives. Giuliana Bruno explores the histories of projection and atmosphere in visual culture and their continued importance to contemporary artists who are reinventing the projective imagination with atmospheric thinking and the use of elemental media. To explain our fascination with projection and atmosphere, Bruno traverses psychoanalysis, environmental philosophy, architecture, the history of science, visual art, and moving image culture to see how projective mechanisms and their environments have developed over time. She reveals how atmosphere is formed and mediated, how it can change, and what projection can do to modify a site. In so doing, she gives new life to the alchemic possibilities of transformative projective atmospheres. Showing how their "environmentality" produces sites of exchange and relationality, this book binds art to the ecology of atmosphere.

A fascinating survey of pioneering work in experimental cinema and art from 1905 to the present day, revealing the high stakes and transformative potential of these forms This generously illustrated publication surveys the work of filmmakers and artists who have pushed the material and conceptual boundaries of cinema. Over the past century, the material, optical, abstract, spatial, and tactile properties of film have been tested at a level of experimentation and utopian ambition that is generally unrecognized. Whether creating synesthetic or 3-D environments, projective or non-projective installations, generations of leading-edge artists have explored how technology transforms experience. The essays published here offer an intensive look at the themes of cinematic space, formats of the screen, animation and CGI, the body and the cyborg, and the materiality of film. Contributors place particular emphasis on the idea of the cinema as a sensorium and on the ways in which it defines the human body, both through representation and in relation to the projected image. An immersive plate section brings together rarely seen and previously unpublished stills, in addition to concept drawings from historic and contemporary films. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art, New York (10/28/16-02/05/17)

Paper, cardboard, plywood, light—decidedly conceptual and materially ephemeral, Tobias Putrih’s projects draw on the visionary concepts of architecture and design and utopian ideas of the 20th century avant-gardes. This book traces Putrih’s investigations into the heritage of architectural experiments such as the works of Buckminster Fuller and Friedrich Kiesler. Perceptron is the first comprehensive survey of Putrih’s work that oscillates between architecture, sculpture, and science. Through an encyclopedic array of reference materials and critical texts, it examines Putrih’s practice in the context of architectural and design history as well as the history of cybernetics, and offers a richly illustrated study of Putrih’s modifications of public spaces, experiments with collective form, as well as his immersive temporary environments created out of everyday materials.

Emphasizing the importance of cultural theory for film history, Giuliana Bruno enriches our understanding of early Italian film as she guides us on a series of "inferential walks" through Italian culture in the first decades of this century. This innovative approach---the interweaving of examples of cinema with architecture, art history, medical discourse, photography, and literature--addresses the challenge posed by feminism to film study while calling attention to marginalized artists. An object of this critical remapping is Elvira Notari (1875-1946), Italy's first and most prolific woman filmmaker, whose documentary-style work on street life in Naples, a forerunner of neorealism, was popularly acclaimed in Italy and the United States until its suppression during the Fascist regime. Since only fragments of Notari's films exist today, Bruno illuminates the filmmaker's contributions to early Italian cinematography by evoking the cultural terrain in which she operated. What emerges is an intertextual montage of urban film culture highlighting a woman's view on love, violence, poverty, desire, and death. This panorama ranges from the city's exteriors to the body's interiors. Reclaiming an alternative history of women's filmmaking and reception, Bruno draws a cultural history that persuasively argues for a spatial, corporal interpretation of film language.

The vital synergy between dress and the cinema has been in place since the advent of film. Broaching topics such as vampires, noir, and Marie Antoinette looks, Fashion in Film uncovers the way in which the alliance of these two powerhouse industries use myriad cultural influences shaping narrative, national identity, and all points in between. Contributor essays address international films from early cinema to the present, drawing on the classic and the innovative. This abundantly illustrated collection reveals that fashion in conjunction with film must be understood in a different way from fashion tout simple."

Atlas of Emotion is a highly original endeavour to map a cultural history of spatio-visual arts. In an evocative montage of words and pictures, emphasises that "sight" and "site" but also "motion" and "emotion" are irrevocably connected. In so doing, Giuliana Bruno touches on the art of Gerhard Richter and Annette Message, the film making of Peter Greenaway and Michelangelo Antonioni, the origins of the movie palace and its precursors, and her own journeys to her native Naples. Visually luscious and daring in conception, Bruno opens new vistas and understandings at every turn.

What is the place of materiality the expression or condition of physical substance in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how fa ades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien's and Wong Kar-wai's filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.