TY - BOOK ID - 15326518 TI - After unique- ness PY - 2017 SN - 9780231176927 9780231176934 0231176929 0231176937 0231543123 9780231543125 PB - New York DB - UniCat KW - Motion picture audiences KW - Video art KW - Motion pictures and the arts. KW - Art and motion pictures. KW - Motion picture industry KW - History. KW - Technological innovations. KW - kunst KW - film KW - filmtheorie KW - filmgeschiedenis KW - video KW - videkunst KW - filmproductie KW - filmdistributie KW - experimentele film KW - 791.41 KW - Film industry (Motion pictures) KW - Moving-picture industry KW - Art and moving-pictures KW - Motion pictures and art KW - Arts and motion pictures KW - Moving-pictures and the arts KW - Electronic art KW - Experimental television KW - Film audiences KW - Filmgoers KW - Moviegoers KW - Moving-picture audiences KW - Motion pictures and the arts KW - Art and motion pictures KW - History KW - Technological innovations KW - Cultural industries KW - Motion pictures KW - Arts KW - Art, Modern KW - Performance art KW - Television KW - Experimental films KW - Performing arts KW - Audiences KW - Art et cinéma. KW - Art vidéo KW - Cinéma Industrie KW - Cinéma et arts. KW - Cinéma KW - Media Studies. KW - Motion picture audiences. KW - Video art. KW - Histoire. KW - Innovations. KW - Publics. KW - Time-based art UR - https://www.unicat.be/uniCat?func=search&query=sysid:15326518 AB - Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity-or both at once.From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form. ER -