Index of Titles Filed Under 'Cinema Culture'

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German cinema is best known for its art cinema and its long line of outstanding individual directors. The double spotlight on these two subjects has only deepened the obscurity surrounding the popular cinema. A Second Life performs a kind of archaeology on a period largely overlooked: the first two decades of German cinema. This collection of essays by established authors refocuses the terms of a debate that will develop in the years to come concerning the historical and cultural significance of popular cinema in Wilhelmine Germany.
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Advertising has played a central role in shaping the history of modern media. While often identified with American consumerism and the rise of the ‘Information Society,’ motion picture advertising has been part of European visual culture since the late nineteenth century. With the global spread of ad agencies, moving image advertisements became a privileged cultural form to make people experience the qualities and uses of branded commodities, to articulate visions of a ‘good life,’ and to incite social relationships. Abandoning a conventional delineation of fields by medium, country, or period, this book suggests a lateral view. It charts the audiovisual ...
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Theorising a World of Video, after.video realizes the world through moving images and reassembles theory after video. Extending the formats of ‘theory,’ it reflects a new situation in which world and video have grown together. This is an edited collection of assembled and annotated video essays living in two instantiations: an online version – located on the web at http://after.video/assemblages, and an offline version – stored on a server inside a VHS (Video Home System) case. This is both a digital and analog object: manifested, in a scholarly gesture, as a ‘video book.’ We hope that different tribes — from DIY hackercamps ...
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Publisheronestar press2004
Anna Sanders Films Identity Spot is a monochrome sequence of images derived from an original 20 second colour film produced as an identity spot for Anna Sanders Films, Paris. Anna Sanders was founded by Philippe Parreno, Charles de Meaux and Pierre Huyghe in 1997. Thanks to Lisa Rovner for her role in the film; Tommaso Corvi-Mora, London; Air de Paris, Paris. Sean Dack is an artist based in New York. Liam Gillick is an artist based in London and New York.
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PublisherArchive Books2017
“Run comrade, the old world is behind you,” is one of the slogans hoisted by the French 1968 movement, which eventually found its way into Soleil Ô (1969), Med Hondo’s best-known film. Filmmaker, actor, and voice-actor, Med Hondo was born in Mauritania, subsequently emigrated to France where he has been living in the Parisian suburbs for more than fifty years. A truly self-made man, Med Hondo began to work in theatre, uncompromisingly making his way toward filmmaking. As a director, he has produced films that unveil the political topicality of the African continent’s history and of its diaspora, and to ...
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PublisherArchive Books2018
Displaced outside of the cinema, the films invite us to form a new assembly. The series a cinema situation concentrates not only on the films but also on the potentiality of this assembly and, more widely, on the social practices that have contributed to the creation of new film cultures – film societies, cineclubs, film-makers clubs within decolonial movements, video salons, film workshops, etc. – by establishing other modes of production and distribution, by setting up spaces of freedom, sites for emergent subjectivities. The series would have us question our relation to the films, to their images, complicating it by ...
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PublisherArchive Books2019
This issue of the journal resulted from the AntiColonial Records seminar that took place from the 24 to the 26 of October 2018 at Archive Kabinett in Berlin. This format of edited excerpts from transcribed conversations between the three groups of participants is a means to document the multi-voiced gathering and to map various positions and urges informed by anticolonial methods and practices.
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The production, distribution, and perception of moving images are undergoing a radical transformation. Ever-faster computers, digital technology, and microelectronic are joining forces to produce advanced audiovision—the media vanishing point of the 20th century. Very little will remain unchanged. The classic institutions for the mediation of film—cinema and television—are revealed to be no more than interludes in the broader history of the audiovisual media. This book interprets these changes not simply as a cultural loss but also as a challenge: the new audiovisions have to be confronted squarely to make strategic intervention possible. Audiovisions provides a historical underpinning for this active ...
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Annette Michelson’s contribution to art and film criticism over the last three decades is unparalleled. This volume honors Michelson’s unique legacy with original essays by some of the many scolars that have been influenced by her work. Some continue her efforts to develop theoretical frameworks for understanding modernist art, while others practice her form of interdisciplinary crtiticism in relation to avant-garde and modernist art works and artists. Still others investigate and evaluate Michelson’s work itself. All in some way pay homage to het extraordinary contribution and demonstrate its continued centrality to the field of art and film criticism.
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Publisherpunctum books2021
Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t ...
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This anthology explores new periods, practices and definitions of what it means to love the cinema. The essays demonstrate that beyond individualist immersion in film, typical of the cinephilia as it was popular from the 1950s to the 1970s, a new type of cinephilia has emerged since the 1980s, practiced by a new generation of equally devoted, but quite differently networked cinephilies. They obsess over the nuances of a Douglas Sirk or Ingmar Bergman film; they revel in books such as François Truffaut’s Hitchcock; they happily subscribe to the Sundance Channel—they are the rare breed known as cinephiles. Though much ...
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This title is the first ever book-length study of the cinematic representation of Paris in the films of German emigré filmmakers, who found there a first refuge from Hitler. In coming to Paris—the privileged site in terms of production, exhibition as well as the cinematic imaginary of French film culture—these experienced film professionals encountered also a darker side: hostility toward Germans, anti-Semitism, as well as boycotts from French industry personnel, afraid of losing their jobs to foreigners. The book juxtaposes the cinematic portrayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Max Ophüls, Anatol Litvak and ...

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