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This publication engages with a futuristic progressive vision on the condition of cinema. By questioning and analyzing cinema's past and present industry with respect to various forms of staging from the perspective of artistic practice and research, a new space beyond is formulated. The author takes on a journey to reveal an imaginary - astronomical - political trope on and through what can be called the cinema of the present.

Space in motion pictures --- Motion pictures and architecture

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In this cross-cultural history of narrative cinema and media from the 1910's to the 1930's, leading and emergent scholars explore the transnational crossings and exchanges that occurred in early cinema between the two world wars. Drawing on film archives from around the world, this volume advances the premise that silent cinema freely crossed national borders and linguistic thresholds in ways that became far less possible after the emergence of sound. These essays address important questions about the uneven forces-geographic, economic, political, psychological, textual, and experiential-that

Space in motion pictures. --- Silent films --- Motion pictures --- History and criticism.

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Films provide valuable spaces for aesthetic experimentation and analysis, for cinemas openness to other media has always allowed it to expand its own. In Aesthetic Spaces, Brigitte Peucker shows that when painterly or theatrical conventions are appropriated by the medium of film, the dissonant effects produced open it up to intermedial reflection and tell us a great deal about cinema itself.The films studied in these chapters include those by Abbas Kiarostami, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Carl Th. Dreyer, Peter Greenaway, Rainer Werner Fassbinder, Ingmar Bergman, Jacques Rivette, Fritz Lang, F. W. Murnau, Lars von Trier, Spike Jonze, Éric Rohmer, Lech Majewski, and others. Where two media are in evidence in these films, there is usually a third, and often theater mediates between film and painting. Aesthetic Spaces interrogates issues of cinematic space and mise-en-scène from different but interconnected theoretical perspectives, organizing its chapters around some of the formal principles--space, spectator, frame, color and lighting, props, décor, and actor--that shape films.Drawing on the older arts to renew cinema, the films examined deploy paintings as material: Poussin and Bruegel, Rembrandt, Hals and Klimt, and medieval illustrations and modernist abstractions are used to expand our notions of cinematic space. Peucker shows that when different media come together in film, they create effects of dissonance out of which new modes of looking may arise.

Motion pictures --- Painting and motion pictures. --- Space in motion pictures. --- Aesthetics. --- Performing arts

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Le cinéma classé X, en tant que lieu, en tant que pornotopia pré-numérique à l’ère de la virtualité potentielle des sexualités, le dispositif spatial ultime imaginé pour ces films, dissout la distance entre la réalité et la représentation, le regard et le spectacle, le décor et l’écran. La pornographie n’est plus un spectacle, c’est une expérience; la pornographie n’est plus vue, elle est vécue.

Adult movie theaters --- Pornographic films --- Space in motion pictures --- Cinémas pour adultes --- Films pornographiques --- Espace au cinéma --- Photographs. --- Photographies

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Motion pictures --- Place (Philosophy) in motion pictures. --- Space in motion pictures. --- Cities and towns in motion pictures. --- Motion picture locations. --- Setting and scenery. --- Film