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Encompassing experimental film and video, essay film, gallery-based
installation art, and digital art, Jihoon Kim establishes the
concept of hybrid moving images as an array of impure images shaped
by the encounters and negotiations between different media, while
also using it to explore various theoretical issues, such as
stillness and movement, indexicality, abstraction, materiality,
afterlives of the celluloid cinema, archive, memory, apparatus, and
the concept of medium as such. Grounding its study in
interdisciplinary framework of film studies, media studies, and
contemporary art criticism, Between Film, Video, and the Digital
offers a fresh insight on the post-media conditions of film and
video under the pervasive influences of digital technologies, as
well as on the crucial roles of media hybridity in the creative
processes of giving birth to the emerging forms of the moving
image. Incorporating in-depth readings of recent works by more than
thirty artists and filmmakers, including Jim Campbell, Bill Viola,
Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata,
Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller,
Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas
Gordon, Stan Douglas, Candice Breitz, among others, the book is the
essential scholarly monograph for understanding how digital
technologies simultaneously depend on and differ film previous
time-based media, and how this juncture of similarities and
differences signals a new regime of the art of the moving image.
Documentary's Expanded Fields: New Media and the
Twenty-First-Century Documentary offers a theoretical mapping of
contemporary non-standard documentary practices enabled by the
proliferation of new digital imaging, lightweight and non-operator
digital cameras, multiscreen and interactive interfaces, and web
2.0 platforms. These emergent practices encompass digital data
visualizations, digital films that experiment with the deliberate
manipulation of photographic records, documentaries based on drone
cameras, GoPros, and virtual reality (VR) interfaces, documentary
installations in the gallery, interactive documentary (i-doc),
citizens' vernacular online videos that document scenes of the
protests such as the Arab Spring, the Hong Kong Protests, and the
Black Lives Matter Movements, and new activist films, videos, and
archiving projects that respond to those political upheavals.
Building on the interdisciplinary framework of documentary studies,
digital media studies, and contemporary art criticism, Jihoon Kim
investigates the ways in which these practices both challenge and
update the aesthetic, epistemological, political, and ethical
assumptions of traditional film-based documentary. Providing a
diverse range of case studies that classify and examine these
practices, the book argues that the new media technologies and the
experiential platforms outside the movie theater, such as the
gallery, the world wide web, and social media services, expand five
horizons of documentary cinema: image, vision, dispositif, archive,
and activism. This reconfiguration of these five horizons
demonstrates that documentary cinema in the age of new media and
platforms, which Kim labels as the 'twenty-first-century
documentary,' dynamically changes its boundaries while also
exploring new experiences of reality and history in times of the
contemporary crises across the globe, including the COVID-19
pandemic.
Documentary's Expanded Fields: New Media and the
Twenty-First-Century Documentary offers a theoretical mapping of
contemporary non-standard documentary practices enabled by the
proliferation of new digital imaging, lightweight and non-operator
digital cameras, multiscreen and interactive interfaces, and web
2.0 platforms. These emergent practices encompass digital data
visualizations, digital films that experiment with the deliberate
manipulation of photographic records, documentaries based on drone
cameras, GoPros, and virtual reality (VR) interfaces, documentary
installations in the gallery, interactive documentary (i-doc),
citizens' vernacular online videos that document scenes of the
protests such as the Arab Spring, the Hong Kong Protests, and the
Black Lives Matter Movements, and new activist films, videos, and
archiving projects that respond to those political upheavals.
Building on the interdisciplinary framework of documentary studies,
digital media studies, and contemporary art criticism, Jihoon Kim
investigates the ways in which these practices both challenge and
update the aesthetic, epistemological, political, and ethical
assumptions of traditional film-based documentary. Providing a
diverse range of case studies that classify and examine these
practices, the book argues that the new media technologies and the
experiential platforms outside the movie theater, such as the
gallery, the world wide web, and social media services, expand five
horizons of documentary cinema: image, vision, dispositif, archive,
and activism. This reconfiguration of these five horizons
demonstrates that documentary cinema in the age of new media and
platforms, which Kim labels as the 'twenty-first-century
documentary,' dynamically changes its boundaries while also
exploring new experiences of reality and history in times of the
contemporary crises across the globe, including the COVID-19
pandemic.
Encompassing experimental film and video, essay film, gallery-based
installation art, and digital art, Jihoon Kim establishes the
concept of hybrid moving images as an array of impure images shaped
by the encounters and negotiations between different media, while
also using it to explore various theoretical issues, such as
stillness and movement, indexicality, abstraction, materiality,
afterlives of the celluloid cinema, archive, memory, apparatus, and
the concept of medium as such. Grounding its study in
interdisciplinary framework of film studies, media studies, and
contemporary art criticism, Between Film, Video, and the Digital
offers a fresh insight on the post-media conditions of film and
video under the pervasive influences of digital technologies, as
well as on the crucial roles of media hybridity in the creative
processes of giving birth to the emerging forms of the moving
image. Incorporating in-depth readings of recent works by more than
thirty artists and filmmakers, including Jim Campbell, Bill Viola,
Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata,
Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller,
Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas
Gordon, Stan Douglas, Candice Breitz, among others, the book is the
essential scholarly monograph for understanding how digital
technologies simultaneously depend on and differ film previous
time-based media, and how this juncture of similarities and
differences signals a new regime of the art of the moving image.
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