Moving Pictures, Still Lives reframes and rediscovers the virtues and limitations of movies created during the late twentieth century, between the fading modernity crystallized in cinema and the ascendant new digital media visible in the offing.
Moving Pictures, Still Lives reframes and rediscovers the virtues and limitations of movies created during the late twentieth century, between the fading modernity crystallized in cinema and the ascendant new digital media visible in the offing.
James Tweedie is Associate Professor of Comparative Literature at The University of Washington and author of The Age of New Waves: Art Cinema and the Staging of Globalization (2013), which won the 2014 Katherine Singer Kovacs book award from the Society for Cinema and Media Studies.
Inhaltsangabe
Introduction: The Archaeomodern Turn 1. The Old Medium of Film 2. Film and History in the Late Twentieth Century 3. The Baroque Present 4. Museums for Time Machines 5. Archaeomodern Images 6. The Cinema of Painters Part I: Theory and the Modern Past Chapter One The Hauntology of the Cinematic Image: Walter Benjamin, Film Theory, and the Mourning Play 1. Haunted Screens 2. History, Allegory, and Mourning 3. Specters of Cinema 4. After Cinema Chapter Two Time's Arrow, Time's Bow: Gilles Deleuze in the Baroque Age of Cinema 1. Deleuze and the Baroque 2. Cinema Unfolds 3. After Cinema Chapter Three Serge Daney, Zapper: Film, Television, and the Persistence of Media 1. The Rearview Mirror 2. An Adult Art 3. Zapping the Cinema Part II: The Cinema of Painters Chapter Four The Suspended Spectacle of History: The Tableau Vivant in Late Twentieth-Century Cinema 1. The Post-Historical Image 2. A Painting Ruined 3. Caravaggio's Moving Pictures Chapter Five The Afterlife of Art and Objects: The Cinematic Still Life in the Late Twentieth Century 1. The Object as Event 2. Modernity and the Sacred Object: Alain Cavalier's Therese 3. Moving Pictures, Still Lives: On Terence Davies Chapter Six Caliban's Books: Old and New Media in the Work of Peter Greenaway 1. The Canonical Artifact in a Thatcherite Moment 2. Prospero's Library and the Unbound Book 3. Illuminated Manuscripts 4. A Nomadic Shakespeare and the Confines of Heritage Chapter Seven Old Haunts: Commemoration and Mourning in Agnes Varda's Landscapes 1. Unearthed 2. Nature's Studio 3. Land and Escapes
Introduction: The Archaeomodern Turn 1. The Old Medium of Film 2. Film and History in the Late Twentieth Century 3. The Baroque Present 4. Museums for Time Machines 5. Archaeomodern Images 6. The Cinema of Painters Part I: Theory and the Modern Past Chapter One The Hauntology of the Cinematic Image: Walter Benjamin, Film Theory, and the Mourning Play 1. Haunted Screens 2. History, Allegory, and Mourning 3. Specters of Cinema 4. After Cinema Chapter Two Time's Arrow, Time's Bow: Gilles Deleuze in the Baroque Age of Cinema 1. Deleuze and the Baroque 2. Cinema Unfolds 3. After Cinema Chapter Three Serge Daney, Zapper: Film, Television, and the Persistence of Media 1. The Rearview Mirror 2. An Adult Art 3. Zapping the Cinema Part II: The Cinema of Painters Chapter Four The Suspended Spectacle of History: The Tableau Vivant in Late Twentieth-Century Cinema 1. The Post-Historical Image 2. A Painting Ruined 3. Caravaggio's Moving Pictures Chapter Five The Afterlife of Art and Objects: The Cinematic Still Life in the Late Twentieth Century 1. The Object as Event 2. Modernity and the Sacred Object: Alain Cavalier's Therese 3. Moving Pictures, Still Lives: On Terence Davies Chapter Six Caliban's Books: Old and New Media in the Work of Peter Greenaway 1. The Canonical Artifact in a Thatcherite Moment 2. Prospero's Library and the Unbound Book 3. Illuminated Manuscripts 4. A Nomadic Shakespeare and the Confines of Heritage Chapter Seven Old Haunts: Commemoration and Mourning in Agnes Varda's Landscapes 1. Unearthed 2. Nature's Studio 3. Land and Escapes
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