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Memory and Intermediality in Artists` Moving Image, Durcan Sarah


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Автор: Durcan Sarah
Название:  Memory and Intermediality in Artists` Moving Image
ISBN: 9783030473952
Издательство: Springer
Классификация:

ISBN-10: 3030473953
Обложка/Формат: Hardcover
Страницы: 250
Вес: 0.46 кг.
Дата издания: 08.12.2020
Язык: English
Размер: 21.01 x 14.81 x 1.60 cm
Ссылка на Издательство: Link
Поставляется из: Германии
Описание: 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.

Caught In-Between: Intermediality in Contemporary Eastern European and Russian Cinema

Автор: Agnes Petho
Название: Caught In-Between: Intermediality in Contemporary Eastern European and Russian Cinema
ISBN: 1474435491 ISBN-13(EAN): 9781474435499
Издательство: Bloomsbury Academic
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Цена: 105600.00 T
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Описание: Explores the intermedial poetics of the post-communist cinemas of Eastern Europe and Russia

  • Provides in-depth and comparative analyses of films, with case studies covering fiction films, documentaries, avant-garde experiments, arthouse movies and mainstream cinema
  • Cinematic case studies are drawn from Romania, Hungary, Poland, the Czech Republic, Bosnia and Herzegovina and Russia
  • Discusses different strategies of intermediality and covers the analysis of a wide range of intermedial and inter-art phenomena, including the relationship between film and painting, film and sculpture, film and photography, cinema and the graphic novel, words and images and images and music

This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc.

As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society.

Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole.

Contributors
  • Melinda Blos-Jбni, Sapientia Hungarian University of Transylvania
  • Malgorzata Bugaj, University of Stirling and the University of Edinburgh
  • Fбtima Chinita, Lisbon Polytechnic Institute
  • Zsolt Gyenge, Moholy-Nagy University of Art and Design
  • Hajnal Kirбly, Eцtvцs Lorбnd University
  • Bence Krбnicz, Eцtvцs Lorбnd University
  • Gabriel Laverdiиre, from Laval University, Quebec
  • Бgnes Pethő, Sapientia Hungarian University of Transylvania
  • Judit Pieldner, Sapientia Hungarian University of Transylvania
  • Katalin Sбndor, Babeș-Bolyai University
  • Mareike Sera, Humboldt University of Berlin

Cinematic Intermedialities and Contemporary Holocaust Memory

Автор: Victoria Grace Walden
Название: Cinematic Intermedialities and Contemporary Holocaust Memory
ISBN: 3030108767 ISBN-13(EAN): 9783030108762
Издательство: Springer
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Цена: 65210.00 T
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Описание: This book explores the growing trend of intermediality in cinematic representations of the Holocaust. It turns to the in-betweens that characterise the cinematic experience to discover how the different elements involved in film and its viewing collaborate to produce Holocaust memory. Cinematic Intermedialities is a work of film-philosophy that places a number of different forms of screen media, such as films that reassemble archive footage, animations, apps and museum installations, in dialogue with the writing of Deleuze and Guattari, art critic-cum-philosopher Georges Didi-Huberman and film phenomenologies. The result is a careful and unique examination of how Holocaust memory can emerge from the relationship between different media, objects and bodies during the film experience. This work challenges the existing concentration on representation in writing about Holocaust films, turning instead to the materials of screen works and the spectatorial experience to highlight the powerful contribution of the cinematic to Holocaust memory.


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