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Martin Arnold est un réalisateur autrichien né à Vienne en 1959 connu pour ses films de "found footage", terme anglais (littéralement «enregistrement trouvé») qui désigne la récupération de métrages de pellicules impressionnées ou de bandes vidéos dans le but de fabriquer un autre film. On parle ici de remploi (en anglais : reappropriation), de recyclage ou de détournement de matériaux vidéos. Martin Arnold est le cofondateur de la coopérative de distribution autrichienne Sixpack Film créée en 1990.
Film --- Film d'animation --- Animation --- Arnold, Martin
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Cinéma --- Cinéma expérimental --- Arnold, Martin --- Kels, Karl
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S'interroger sur ce que peut une image, c'est d'abord se garder de répondre "rien" ou "tout". C'est refuser d'attribuer aux images un pouvoir qui les dépasse ou de verser dans le lieu commun d'une impuissance conséquente au flux ininterrompu d'images. Entre posture enchantée et croyance excessive dans l'efficacité des images, les treize contributeurs de cet ouvrage nous invitent à adopter un regard critique. Les diverses disciplines mobilisées ici - cinéma, peinture, philosophie, graphie, neurosciences, droit - explorent, à partir de cas concrets, ce qu'opèrent réellement les images sur notre perception et notre conscience : la vidéo comme outil de stratégie militaire pour le commandant Massoud, le tableau comme expérience de l'immatériel chez Le Caravage, le montage cinématographique selon Chris Marker...
Photography, Artistic. --- Video recordings. --- Motion pictures. --- Photographie artistique --- Vidéos --- Cinéma --- fotografie --- film --- fotografietheorie --- filmtheorie --- kunsttheorie --- schilderkunst --- Marker Chris --- Watkins Peter --- Caravaggio Michelangelo da --- Sharits Paul --- Arnold Martin --- Viola Bill --- Bergman Ingmar --- Sokurov Aleksandr --- Lewis Mark --- Blum Michaël --- Kluge Alexander --- Debord Guy --- 77.01 --- Vidéos --- Cinéma --- Illustrations, images, etc. --- Communication visuelle --- Image (philosophie) --- Interprétation. --- Aspect psychologique. --- Illustrations
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A Critical Cinema 3 continues Scott MacDonald's compilation of personal interviews and public discussions with major contributors to independent filmmaking and film awareness. An informative exchange with Amos Vogel, whose Cinema 16 Society drew American filmgoers into a broader sense of film history, is followed by interviews reflecting a wide range of approaches to filmmaking. Sally Potter discusses her popular feature, Orlando, in relation to the experimental work that preceded it, and Canadian independent John Porter argues compellingly for small-gauge, Super-8mm filmmaking. Ken Jacobs discusses the "Nervous System" apparatus with which he transforms old film footage into new forms of motion picture art; Jordan Belson describes his Vortex Concerts, ancestors of modern laser light shows; and Elias Merhige talks about going beneath the "rational structure of meaning" in Begotten.A Critical Cinema 3 presents independent cinema as an international and multiethnic phenomenon. MacDonald interviews filmmakers from Sweden, France, Italy, Austria, Armenia, India, the Philippines, and Japan and examines the work of African Americans, European Americans, Asian Americans, and Hispanics. He provides an introductory overview of each interviewee, as well as detailed film/videographies and selected bibliographies. With its predecessors, A Critical Cinema (California, 1988) and A Critical Cinema 2 (California, 1992), this is the most extensive, in-depth exploration of independent cinema available in English.
film --- filmgeschiedenis --- Verenigde Staten --- experimentele film --- Vogel Amos --- Greaves William --- Belson Jordan --- Peleshian Arthur --- Burnett Charles --- Kazuo Hara --- Watkins Peter --- Jacobs Ken --- Deocampo Nick --- Kaul Mani --- Baldwin Craig --- Nelson Gunvor --- Choy Christine --- Lowder Rose --- Hutton Peter --- Export Valie --- Bokanowski Patrick --- Gianikian Yervant --- Ricci Lucchi Angela --- Merhige Elias --- Mare Aline --- Smith Cauleen --- Porter John --- Montañez Ortiz Raphael --- Arnold Martin --- Potter Sally --- Jacobs Flo --- 791.43 --- Filmologie. Filmtheorie. Esthetica van de film --- Experimental films --- History and criticism.
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Experimental films --- History and criticism. --- Catalogs. --- experimentele film --- filmgeschiedenis --- Adrian Marc --- Arnold Martin --- Blackout Moucie --- Brehm Dietmar --- Christanell Linda --- Export Valie --- Ertl Gerhard --- Hiebler Sabine --- Kordon Renate --- Korschil Thomas --- Kren kurt --- Kubelka Peter --- Mattuschka Mara --- Polanszky Rudolf --- Ponger Lisl --- Radax Ferry --- Rosenberger Johannes --- Scheirl Angela Hans --- Pürrer Ursula --- Schipeck Dietmar --- Scheugl Hans --- Schmidt Jr. Ernst --- Tscherkassky Peter --- Film --- Austria --- 791.43 --- film --- Oostenrijk --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Catalogs --- History and criticism --- Motion pictures --- Video art --- Experimental films - Austria - History and criticism. --- Experimental films - Austria - Catalogs.
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This volume on avant-garde film has emerged as part of a wider reassessment of 20th century avant-garde art, literature and film carried out in the framework of a research project at the University of Edinburgh. It paves the way for a fresh assessment of avant-garde film and develops its theory as an integral part of a newly defined conception of the avant-garde as a whole, by closing the gap between theoretical approaches towards the avant-garde as defined on the basis of art and literature on the one hand and avant-garde cinema on the other. It gathers contributions by the most esteemed scholars in the field of avant-garde studies relating to the “classical” avant-garde cinema of the 1920's, to new trends emerging in the 1950's and 1960's and to the impact that innovative technologies have recently had on the further development of avant-garde and experimental film. The contributions reflect the broad range of different moving-image media that make up what we refer to today simply as “film”, at the same time as reconsidering the applicability of the label “avant-garde”, to offer a comprehensive and updated framework that will prove invaluable to scholars of both Moving Image Studies and Art History disciplines.
Experimental films --- Experimental films. --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- History and criticism --- 1900 - 1999 --- Avant-garde (Aesthetics) --- 791.43 --- Arnold Martin --- avant-gardefilm --- Brakhage Stan --- Buñuel Luis --- Chodorov Pip --- Conrad Tony --- Delvaux André --- Deren Maya --- Dulac Germaine --- Eggeling Viking --- experimentele film --- film --- filmgeschiedenis --- futurisme --- Kubelka Peter --- magisch realisme --- Man Ray --- Mayakovsky Vladimir --- McCall Anthony --- Moholy-Nagy Laszlo --- Morrison Bill --- paracinema --- Peixoto Mario --- performances --- Rey Nicolas --- Richter Hans --- Rosenbach Ulrike --- Ruttmann Walther --- Sharits Paul --- surrealisme --- twintigste eeuw --- Valie Export --- Vertov Dziga --- video --- videokunst --- Aesthetics --- Modernism (Art) --- History and criticism. --- Film --- anno 1900-1999 --- Avant-garde (Aesthetics).
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Introduction: The audiovisual medium. ##pt. I. Video, a technology, a medium. ##Media-theoretical considerations ; The visualization debate ; Preconditions of the technology and the apparatus ; Matrix phenomena -- ##pt. II. The reflexive medium. ##Experimental phase ; Guerilla television ; Artistic video ; Excursus on the relationship of film, video and computer ; Experimental video ; Video cultures -- ##pt. III. Video aesthetics. ##Apparatus, self-reflection and performance : Vito Acconci and Dennis Oppenheim ; Picture, reproduction, media images : Ulrike Rosenbach, Joan Jonas and Valie Export ; Video/TV : Nam June Paik and Dara Birnbaum ; Video, photo and film : Klaus vom Bruch and Peter Campus ; Structural video : Michael Langoth, Les Levine, Jean-François Guiton, Richard Serra and Dieter Kiessling ; Musicalisation in video : Robert Cahen ; Layering and condensing : Peter Callas ; Video scratching : Martin Arnold and Raphael Montañez Ortiz ; Video void : David Larcher ; Micro/macro dimensions : Nan Hoover ; Picture, text, voice and writing : Gary Hill ; Video and computers : Steina and Woody Vasulka ; Video and virtual environment : Lynn Hershman ; Video, poetics and hypermedia : Bill Seaman ; Video installations : Eija-Liisa Ahtila, Chantal Akerman, Gillian Wearing -- ##Outlook : complexity and Interactivity.
Video art --- Video recordings --- Video recordings. --- 791.43.098 --- Valie Export --- Birnbaum Dara --- vom Bruch Klaus --- Campus Peter --- Langoth Michael --- Levine Les --- Guiton Jean-François --- Kiessling Dieter --- Cahen Robert --- Callas Peter --- Arnold Martin --- Montañez Ortiz Raphael --- Larcher David --- Hill Gary --- Vasulka Woody --- Vasulka Steina --- Hershman Lynn --- Seaman Bill --- Ahtila Eija-Liisa --- Akerman Chantal --- 791.45 --- Video's. Videofilms. Videoclips. Videokunst --- 791.43.098 Video's. Videofilms. Videoclips. Videokunst --- Acconci Vito --- Hoover Nan --- Jonas Joan --- kunst --- Oppenheim Dennis --- Paik Nam June --- Rosenbach Ulrike --- Serra Richard --- video --- video-installaties --- videokunst --- Wearing Gillian --- 778.5 --- Videorecordings --- Videos --- Audio-visual materials --- Electronic art --- Experimental television --- Art, Modern --- Performance art --- Television --- Experimental films --- 778.5 Filmfotografie. Filmkunst --- Filmfotografie. Filmkunst --- Art --- Mass communications --- Video art. --- Time-based art
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evolution --- psychology --- Kinetic [style] --- science --- avant-garde --- art theory --- technology --- cybernetics --- Bauhaus --- Art --- Constructivist --- art [fine art] --- Science --- mathematics --- Tomaschek, Gertrude --- Wagner, Otto Erich --- Greguss, Pál --- Reismayer-Fritsche, Johanna --- Gerö, György --- Karlinsky, Elisabeth --- Radax, Ferry --- Vasarely, Victor --- Scheugl, Hans --- Fleischmann, Trude --- Braun, Nikolaus --- Benirschke, Max --- Kren, Kurt --- Rochowansky, Leopold Wolfgang --- Kroó, Norbert --- Dienes, Valéria --- Téry-Adler, Margit --- Zeymer, Fritz --- Tubák, Csaba --- Weibel, Peter --- Arnold, Martin --- Greenham, Lily --- Tihanyi, Lajos --- Schilling, Alfons --- Mengyan, Andras --- Schule, Cizek --- Fischel, Gertrude --- Urbach, Franz --- Molnár, Farkas --- Painitz, Hermann Josef --- Wittgenstein, Ludwig --- Mattis-Teutsch, János --- Stadlmayer-Bieber, Maria Luzia --- Penther, Sylvia --- Weininger, Andor --- Moholy-Nagy, László --- Nemcsics, Antal --- Hausmann, Raoul --- Buchner, Wolfgang --- Béothy, Étienne --- Philipp, Helga --- Kirnig, Paul --- Bortnyik, Eva T. --- Bernheimer, Ilse --- Hoelzel, Adolf --- Hoffmann, Josef --- Stolba, Leopold --- Uitz, Bela --- Reichenfelser, Heinz --- Florey, Hans --- Beöthy-Steiner, Anna --- Fórbáth, Alfréd --- Neuwirth, Gertrude --- Alexander, László --- Jung, Georg --- Export, Valie --- Hofmann, Hans --- Breuer, Marcel --- Berzeviczy-Pallavicini, Friedrich v. --- Vesely, Herbert --- Lang, Irmgard --- Schmidt jr., Ernst --- Hofer, Anton --- Peintner, Max --- Loos, Adolf --- Kanizsa, Gaetano --- Moser, Koloman --- Kassak, Lajos --- Adrian, Marc --- Pitsch, Hans --- Kohn, Hans --- Csáji, Attila --- Nechansky, Friedericke --- Bortnyik, Sandor --- Schöffer, Nicolas --- Hammerschmied, Gerta --- Peri, Laszlo --- Pap, Gyula --- Stöhr, Ernst --- Donau, Oskar --- Kubelka, Peter --- Kepes, Gyorgy --- Kien, Erika Giovanna --- anno 1900-1999 --- Austria --- Hungary --- Kassák, Lajos --- science [modern discipline] --- technology [general associated concept] --- Forbát, Fred --- Béothy, Etienne --- Schmidt, Ernst [ jr.] --- Mattis-Teutsch, Hans --- Art and technology --- Avant-garde (Aesthetics) --- History --- Aesthetics --- Modernism (Art) --- Technology and art --- Technology --- art [discipline] --- Kinetic Art --- kunst en wetenschap --- Berzeviczy-Pallavicini, von, Friedrich --- Pál, Imre
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