Moving Images On The Margins
Download Moving Images On The Margins PDF/ePub or read online books in Mobi eBooks. Click Download or Read Online button to get Moving Images On The Margins book now. This website allows unlimited access to, at the time of writing, more than 1.5 million titles, including hundreds of thousands of titles in various foreign languages.
Memory and Intermediality in Artists’ Moving Image
This book addresses the preoccupation with memory in contemporary artists’ moving image installations. It situates artists’ moving image in relation to the transformations of digitalization as hybrid intermedial combinations of analogue film, video and digital video emerge from mid 1990s onwards. While film has always been closely associated with the process of memory, this book investigates new models of memory in artists’ remediation of film with video and other intermedial aesthetics. Beginning with a chapter on the theorization of memory and the moving image and the diverse genealogies of artists’ film and video, the following chapters identify five different mnemonic modes in artists’ moving image: critical nostalgia, database narrative, the ‘echo-chamber’, documentary fiction and mediatized memories. Stan Douglas, Steve McQueen, Runa Islam, Mark Leckey and Elizabeth Price are of a generation that has lived through the transition from analogue to digital. Their emphasis on the nuances of intermediality indicates the extent to which we remember through media.
Cinema at the Margins
More and more, just a few canonical classics, such as Michael Curtiz’s “Casablanca” (1942) or Victor Fleming’s “Gone With The Wind” (1939), are representing the entire film output of an era, to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s? This collection of essays aims to highlight some of the lesser-known treasures of the past – those titles that have been pushed aside by today’s wave of cinema amnesia.
Parallel Public
How East German artists made their country’s experimental art scene a form of (counter) public life. Experimental artists in the final years of the German Democratic Republic did not practice their art in the shadows, on the margins, hiding away from the Stasi’s prying eyes. In fact, as Sara Blaylock shows, many cultivated a critical influence over the very bureaucracies meant to keep them in line, undermining state authority through forthright rather than covert projects. In Parallel Public, Blaylock describes how some East German artists made their country’s experimental art scene a form of (counter) public life, creating an alternative to the crumbling collective underpinnings of the state. Blaylock examines the work of artists who used body-based practices—including performance, film, and photography—to create new vocabularies of representation, sharing their projects through independent networks of dissemination and display. From the collective films and fashion shows of Erfurt's Women Artists Group, which fused art with feminist political action, to Gino Hahnemann, the queer filmmaker and poet who set nudes alight in city parks, these creators were as bold in their ventures as they were indifferent to state power. Parallel Public is the first work of its kind on experimental art in East Germany to be written in English. Blaylock draws on extensive interviews with artists, art historians, and organizers; artist-made publications; official reports from the Union of Fine Artists; and Stasi surveillance records. As she recounts the role culture played in the GDR’s rapid decline, she reveals East German artists as dissenters and witnesses, citizens and agents, their work both antidote to and diagnosis of a weakening state.