Moving Pictures and Renaissance Art History最新文献

筛选
英文 中文
Prologue 序言
Moving Pictures and Renaissance Art History Pub Date : 2021-08-17 DOI: 10.2307/j.ctv1wdvxbt.4
{"title":"Prologue","authors":"","doi":"10.2307/j.ctv1wdvxbt.4","DOIUrl":"https://doi.org/10.2307/j.ctv1wdvxbt.4","url":null,"abstract":"","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124400979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Index 指数
Moving Pictures and Renaissance Art History Pub Date : 2021-08-17 DOI: 10.2307/j.ctv1wdvxbt.12
{"title":"Index","authors":"","doi":"10.2307/j.ctv1wdvxbt.12","DOIUrl":"https://doi.org/10.2307/j.ctv1wdvxbt.12","url":null,"abstract":"","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"137 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131453975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
List of Films 电影名单
Moving Pictures and Renaissance Art History Pub Date : 2021-08-17 DOI: 10.2307/j.ctv1wdvxbt.11
Sheila Laffey
{"title":"List of Films","authors":"Sheila Laffey","doi":"10.2307/j.ctv1wdvxbt.11","DOIUrl":"https://doi.org/10.2307/j.ctv1wdvxbt.11","url":null,"abstract":"The Last Stand The Struggle for Ballona Wetlands, 19988 ; Updated 2000 57 minute documentary Producer/Co-Director/Co-Writer •Aired on 35 PBS stations through N.E.T.A., •Awards: Cine Golden Eagle Gold Star Award, Worldfest Houston Best Documentary, Santa Monica Film Festival Best Documentary, San Luis Obispo Film Festival Best Documentary (water), Santa Cruz Environmental Film Festival Special Jury Award, Big Muddy Film Festival Documentary Award, University Film/Video Association Best score, New York Independent International Film Festival •Screened at Hawaii International Film Festival Tahoe International Film Festival 2000 Environmental Film Festival in our Nation’s Capitol Equinox Environmental Film Festival sponsored by Seattle PBS International Festival du Cinema, Barcelona New York International Independent Film Festival in Los Angeles","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133442960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Machine Aesthetic 机器美学
Moving Pictures and Renaissance Art History Pub Date : 2021-08-17 DOI: 10.5117/9789463724036_ch02
Patricia A. Emison
{"title":"The Machine Aesthetic","authors":"Patricia A. Emison","doi":"10.5117/9789463724036_ch02","DOIUrl":"https://doi.org/10.5117/9789463724036_ch02","url":null,"abstract":"Film was allied with live performance because of its movement and also\u0000 because many actors started in vaudeville. Hollywood often reproduced\u0000 Broadway plays, prompting critics to try to define what might be specifically\u0000 cinematographic, such as a facility for shifting from one layer of\u0000 consciousness to another. Film allowed for a new kind of experience of\u0000 dramatic art, more remote than theater in some ways but also endowed\u0000 with new resources such as the close-up, location shooting, and a broad\u0000 public sometimes apt for unaccustomed themes and treatments. Urban\u0000 anonymity and the social effects of an increasingly mechanized environment\u0000 were recurrent themes. The displacement of silent film by talkies was\u0000 widely lamented, often on the grounds that silent film was just coming\u0000 into its own as an art form, an early instance of questioning the reliability\u0000 of technological progress.","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125914682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Epilogue 后记
Moving Pictures and Renaissance Art History Pub Date : 2021-08-17 DOI: 10.5117/9789463724036_epi
Patricia A. Emison
{"title":"Epilogue","authors":"Patricia A. Emison","doi":"10.5117/9789463724036_epi","DOIUrl":"https://doi.org/10.5117/9789463724036_epi","url":null,"abstract":"The span of this book is roughly that of directors who had started out in\u0000 silent pictures reaching the end of their careers, including their transitions\u0000 to color. The introduction of sound recording and color both transformed\u0000 filmmaking, not least its cost. Misgivings were voiced early on about the\u0000 moral effect of the new art, even as censorship was deplored. Mannerism\u0000 as an art-historical concept was being developed to supplement that of\u0000 Renaissance naturalism even as filmmakers were trying to reconcile the\u0000 realism to which photography might seem suited with the artificiality it\u0000 also enabled. Although studying the history of film inevitably dredges up\u0000 evidence of racism, sexism, and other prejudices, the history of film, like\u0000 the history of art, is too complex and has long been too deeply engrained\u0000 in our cultural lives for historians to choose to be ignorant of once admired\u0000 works we may now in part or thoroughly deplore, as well as minor yet\u0000 elucidating works that may likewise be problematic, at least in part.\u0000 The supposition that respect is the default response to any work of art\u0000 underestimates the changing role of laughter and other forms of active\u0000 disregard, particularly during the last century.","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114601702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Machine Aesthetic 机器美学
Moving Pictures and Renaissance Art History Pub Date : 2014-11-23 DOI: 10.2307/j.ctv1wdvxbt.6
P. Goodfellow
{"title":"The Machine Aesthetic","authors":"P. Goodfellow","doi":"10.2307/j.ctv1wdvxbt.6","DOIUrl":"https://doi.org/10.2307/j.ctv1wdvxbt.6","url":null,"abstract":"A Machine Aesthetic is a curated national touring exhibition which took place at Gallery North, Newcastle; The Gallery@AUB, Bournemouth, ProjectSpacePlus, Lincoln, The Gallery@NUA, Norwich and Transition Gallery, London, curated by Eric Butcher and Simon Granell. The show featured work from Paul Goodfellow, Andrew Bracey, Eric Butcher, David Connearn, Robert Currie,Simon Granell, Emma Hart, Dan Hays, Natasha Kidd, Tim Knowles, and Michael Roberts \u0000 \u0000'From the first daubings of pre-historic caves, through the invention of the camera obscura and ready-made oil paint in tubes, to the use of digital media, artists have been among the first to embrace and exploit new technologies. The focus of A Machine Aesthetic, however, is at once narrower and broader, concerning itself specifically with the notion and implications of ‘mechanisation’ in its widest sense in contemporary art. \u0000 \u0000Since the late 1950/early 60s there have evolved a plethora of artistic practices which, for reasons as various as the practitioners themselves, involve the manufacture of machines to produce the artistic ‘product’. Where Jean Tinguely led the way, artists as diverse as Rebecca Horn, Chris Burden, Roxy Paine and Damien Hirst followed. But these analyses have tended to conceive of the machine in a narrow sense. And while this conception has its part to play in A Machine Aesthetic, a more illuminating perspective can be achieved by consideration of the full range of artistic practices that embrace more subtle and sophisticated notions of mechanisation. \u0000 \u0000Contemporary fine art practice engages with the notion of mechanisation in a sophisticated range of ways; from artists who exploit the materials, processes and techniques of machine production, incorporating machined materials into their work, to those who do not engage physically with machines at all, but adopt a mechanised methodology in the process of manufacture, disciplining their minds and bodies to behave like machines. The latter approach recognises and exploits the extent to which the human condition is predicated upon mechanisation, but acknowledges that we are only part machine. Artists make machines to make their work for them, the creative act being pushed one or more steps from the actual moment of production, raising fundamental questions concerning the status and primacy of the creative act and the relationship between it and the art object. In some cases the ‘art machine’ is the art object. \u0000 \u0000In addition, the notion of mechanisation may refer to the process of the reception of the art object by the viewer. The demands that some works of art make on the viewer in their apprehension can be formidable. The manner of a work’s execution may demand an analogously mechanistic process in its apprehension. \u0000 \u0000A Machine Aesthetic: The role of mechanisation in contemporary artistic practice, divided into four parts (Machined Components, Behaving like Machines, Mechanised Processes, Art Machines), attempts to explore the","PeriodicalId":147977,"journal":{"name":"Moving Pictures and Renaissance Art History","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126861872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
相关产品
×
本文献相关产品
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信