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Film and Domestic Space: Architectures, Representations,
DispositifEdited by Stefano Baschiera and Miriam De RosaAlthough
film and media studies have widely engaged with the different
aspects of social space, domestic space in film has rarely been
studied in its multiple dimensions. Drawing on a broad range of
theoretical disciplines and with case studies of directors such as
Chantal Akerman, Agnes Varda, Claire Denis, Todd Haynes, Amos
Gitai, Martin Ritt, John Ford, Ila Beka and Louise Lemoine this
book goes beyond the representational approach to the analysis of
domestic space in cinema, in order to look at it as a dispositif.
Adopting this innovative two-fold approach that couples
representation and dispositif, the home is studied as an
architecture, as the place that embodies, defines and perpetuates
the family history, as the milieu of gender and generational
struggle, as well as the first site where manifestations of power
unfold. All chapters contribute to explore, unpack the
complexities, and expand on the richness encapsulated in the notion
of domesticity and dwelling in its fascinating relation to moving
images.
As the cinematic experience becomes subsumed into today's
ubiquitous technologies of seeing, contemporary artworks lift the
cinematic out of the immateriality of the film screen and separate
it into its physical components within the gallery space. How to
read these reformulations of the cinematic medium - and their
critique of what it is and has been? In Theorizing Cinema Through
Contemporary Art: Expanding Cinema, leading film theorists consider
artworks that incorporate, restage, and re-present cinema's
configuration of the key categories of space, experience,
presence/absence, production and consumption, technology, myth,
perception, event, and temporality, so interrogating the creation,
appraisal, and evolution of film theory as channeled through
contemporary art. This book takes film theory as a blueprint for
the moving image, and juxtaposes it with artworks that render
cinema as a material object. In the process, it unfolds a complex
relationship between a theory and a practice that have commonly
been seen as virtually incompatible, renewing our understanding of
each and, more to the point, their interactions.
Although film and media studies have widely engaged with the
different aspects of social space, domestic space in film has
rarely been studied in its multiple dimensions. Drawing on a broad
range of theoretical disciplines - and with case studies of
directors such as Chantal Akerman, Agnes Varda, Claire Denis, Todd
Haynes, Amos Gitai, Martin Ritt, John Ford, Ila Beka and Louise
Lemoine - this book goes beyond the representational approach to
the analysis of domestic space in cinema, in order to look at it as
a dispositif. Adopting this innovative two-fold approach that
couples representation and dispositif, the home is studied as an
architecture, as the place that embodies, defines and perpetuates
the family history, as the milieu of gender and generational
struggle, as well as the first site where manifestations of power
unfold. All chapters contribute to explore, unpack the complexities
and expand on the richness encapsulated in the notion of
domesticity and dwelling in its fascinating relation to moving
images.
World Cinema on Demand brings together diverse contributions by
leading film and media scholars to examine world cinema’s
dialogue with the transformations that took place during 2010-2014,
engaging directly with ongoing debates surrounding national cinema,
transnational identity, and cultural globalization, as well as
ideas about genre, fandom and cinephilia. The contributions look at
individual national patterns of online distribution, engaging with
archives, SVODS and torrent communities. The essays also
investigate the cross-cultural presence of world cinema in
non-domestic online markets (such as Europe’s, for example). As a
result, the volume sheds light on geo-politically specific issues
of film circulation, consumption and preservation within a range of
culturally diverse filmmaking contexts, including case studies from
India, Nigeria, Mexico and China. In this way, the collection maps
the impact of different online formats of distribution in the
understanding of World Cinema, underlining the links between
distribution and media provisions as well as engaging with new
forms of intermediation.
World Cinema on Demand brings together diverse contributions by
leading film and media scholars to examine world cinema’s
dialogue with the transformations that took place during 2010-2014,
engaging directly with ongoing debates surrounding national cinema,
transnational identity, and cultural globalization, as well as
ideas about genre, fandom and cinephilia. The contributions look at
individual national patterns of online distribution, engaging with
archives, SVODS and torrent communities. The essays also
investigate the cross-cultural presence of world cinema in
non-domestic online markets (such as Europe’s, for example). As a
result, the volume sheds light on geo-politically specific issues
of film circulation, consumption and preservation within a range of
culturally diverse filmmaking contexts, including case studies from
India, Nigeria, Mexico and China. In this way, the collection maps
the impact of different online formats of distribution in the
understanding of World Cinema, underlining the links between
distribution and media provisions as well as engaging with new
forms of intermediation.
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