Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent it represents a unitary or diversified current. The book proposes to integrate the post-cinema question within the post-art question in order to study the new ways of making filmic images. The issue will be considered at three levels: the impression of post-art on "regular" films; the "relocation" (Casetti) of the same films that can be seen using devices of all kinds in conditions more or less removed from the dispositif of the theater; the integration of cinema into contemporary art in all kinds of forms of creation and exhibition, parallel to the integration of contemporary art in "regular" cinema.

A compendium of the history of contemporary American art and a living testimony of a sincere and active protagonist. Victor Burgin, an artist and sophisticated theoretician of the image, both still and in movement, was born in Sheffield, England, in 1941. He established himself on the international art scene in the late sixties, as one of the fathers of Conceptual Art, working both with the photographic medium and with moving images in his films. His work draws its inspiration from and is influenced by great thinkers and philosophers such as Karl Marx, Sigmund Freud, Michel Foucault and Roland Barthes. Over the past 30 years, Victor Burgin has become both a highly influential artist and a renowned theorist of the still and moving image. His writings on general issues such as photographic, psychoanalytic and cultural theory are noted for their lucidity, compactness and reason. In contrast, the photographs and videos that Burgin creates as an image-maker are richly paradoxical and constitute an inquiry into the structure of meaning in contemporary society. This book is different from Victor Burgin's previous publications, which are either monographs of his visual work - with essays by other writers - or collections of his theoretical essays. Although Burgin is known equally as an artist and as a theorist there has so far been no book in which Burgin turns his critical attention to his own artistic production. The proposed monograph will fill this absence and will appeal to a wide audience interested in photography, film and media.

Most books about cinema, whether popular or academic, concentrate on what we might call the "inside" of the film: from star performances to narrative structures. The relatively few books about the "outside" of films speak mainly of such aspects of production and reception as the organization of the film industry and the sociology of audiences: the Hollywood studio system, for example, or fan clubs. "The Remembered Film" is unique in addressing a previously overlooked aspect of cinema: the isolated fragments of films, iconic images or scenes, that fleetingly cross our perceptions and thoughts in the course of everyday life.
Victor Burgin examines a kaleidoscope of film fragments drawn from a variety of media, the internet, memory and fantasy. Among these are sequences of such brevity they might almost be stills. Such "sequence-images," as Burgin calls them, are neither strictly "image" nor "image sequence" and have not been considered before by either film or photography theory. He also considers some typical individual experiences "sampled" from mainstream cinema. He reflects on such disparate occurrences as the association in memory of fragments from otherwise unrelated films, of the relation of a recollected film image to an architectural setting, or of a feeling "marked" by an image remembered from a film.
"The Remembered Film" provides a radical new way of thinking about film outside conventional cinema, and in relation to our everyday lives. It will appeal to a wide audience interested in film and media.

Recent discussions about the culture of images have focused on issues of identity - sexual, racial, national - and the boundaries that define subjectivity. In this context Victor Burgin adopts an original critical strategy. He understands images less in traditional terms of the specific institutions that produce them, such as cinema, photography, advertising, and television, and more as hybrid mental constructs composed of fragments derived from the heterogeneous sources that together constitute the 'media'. Through deft analyses of a photograph by Helmut Newton, Parisian cityscapes, the space of the department store, a film by Ousmane Sembene, and the writings of Henri Lefebvre, Andre Breton, and Roland Barthes, Burgin develops an incisive theory of our culture of images and spectacle. "In/Different Spaces" explores the construction of identities in the psychical space between perception and consciousness, drawing upon psychoanalytic theories to describe the constitution and maintenance of 'self' and 'us' - in imaginary spatial and temporal relations to 'other' and 'them' - through the all-important relay of images. For Burgin, the image is never a transparent representation of the world but rather a principal player on the stage of history.

An essential guide to an essential book, this first anthology on Camera Lucida offers critical perspectives on Barthes's influential text. Roland Barthes's 1980 book Camera Lucida is perhaps the most influential book ever published on photography. The terms studium and punctum, coined by Barthes for two different ways of responding to photographs, are part of the standard lexicon for discussions of photography; Barthes's understanding of photographic time and the relationship he forges between photography and death have been invoked countless times in photographic discourse; and the current interest in vernacular photographs and the ubiquity of subjective, even novelistic, ways of writing about photography both owe something to Barthes. Photography Degree Zero, the first anthology of writings on Camera Lucida, goes beyond the usual critical orthodoxies to offer a range of perspectives on Barthes's important book. Photography Degree Zero (the title links Barthes's first book, Writing Degree Zero, to his last, Camera Lucida) includes essays written soon after Barthes's book appeared as well as more recent rereadings of it, some previously unpublished. The contributors' approaches range from psychoanalytical (in an essay drawing on the work of Lacan) to Buddhist (in an essay that compares the photographic flash to the mystic's light of revelation); they include a history of Barthes's writings on photography and an account of Camera Lucida and its reception; two views of the book through the lens of race; and a provocative essay by Michael Fried and two responses to it. The variety of perspectives included in Photography Degree Zero, and the focus on Camera Lucida in the context of photography rather than literature or philosophy, serve to reopen a vital conversation on Barthes's influential work.

Over the past thirty years Victor Burgin's work has established him both as one of the most influential practitioners of Conceptual Art, and one of the most insightful theorists of the still and moving image. After 13 years in the United States, Burgin has recently returned to Britain. This book examines the work of an artist who was nominated for the Turner Prize shortly prior to his departure for the USA, and who is now being discovered by a new generation of contemporary artists in Europe. It is being published to coincide with Listen to Britain at Arnolfini, Burgin's first major exhibition in Britain since 1986.Victor Burgin's photographic and video works can be found in such public collections as the Museum of Contemporary Art, Los Angeles; the Walker Art Center, Minneapolis; the Museum of Modern Art, New York; the Tate Modern, London; and the Centre Georges Pompidou, Paris. His theoretical works have been translated into many languages, and include In/Different Spaces, The End of Art Theory, and Thinking Photography.