Post-cinemaPub Date : 2020-12-31DOI: 10.1515/9789048551941-009
G. Fossati, A. V. D. Oever
{"title":"7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue","authors":"G. Fossati, A. V. D. Oever","doi":"10.1515/9789048551941-009","DOIUrl":"https://doi.org/10.1515/9789048551941-009","url":null,"abstract":"Contributing to the cinema death topic while focusing on national film institutes, Giovanna Fossati and Annie van den Oever observe that, while it can be said that processes of digitalization (which raise the question as to whether the notion of film is still relevant in this new technological context) have deeply affected the world of film and cinema, some of the film institutes remain – an index of the cinema persistence. Digitalization concerns reproduction and creation. The exchange of views between Fossati and Van den Oever provides a useful perspective on the issue of digital archiving. It also deeply enriches the idea of post-cinema, more precisely, the idea of “a new post-cinematic ecology.”","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116801126","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}
Post-cinemaPub Date : 2020-12-31DOI: 10.1515/9789048551941-014
Miriam De Rosa
{"title":"12. Dwelling with Moving Images","authors":"Miriam De Rosa","doi":"10.1515/9789048551941-014","DOIUrl":"https://doi.org/10.1515/9789048551941-014","url":null,"abstract":"Some filmmakers or artists decide to put art at the heart of their creation, applying not only the relationship between cinema and art to their concept but also to various aspects of the process of creation. Miriam De Rosa addresses this kind of “art contemporary turn” by examining the different incursions of cinema from the point of view of the contemporary art space: “how the contemporary experience of moving images is articulated when it enters art spaces.” The presence of film in this foreign space, transform-ing it into a different and personalized place, can be observed in recent exhibitions: Sleepwalkers (2007); Marta Minujín’s Mesunda Reloaded (2019) at the New Museum in New York; and Sensitive Environments by the Milan-based collective Studio Azzurro.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121225010","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}
Post-cinemaPub Date : 2020-12-31DOI: 10.1515/9789048551941-021
Wang Bing, Dominique Château, J. Moure
{"title":"19. Documentary as Contemporary Art – A Dialogue","authors":"Wang Bing, Dominique Château, J. Moure","doi":"10.1515/9789048551941-021","DOIUrl":"https://doi.org/10.1515/9789048551941-021","url":null,"abstract":"Wang Bing can be considered one of the greatest representatives of contemporary Chinese cinema. A meeting between him, Dominique Chateau and José Moure at a Master Class, as part of a series of Interface meetings at the Panthéon-Sorbonne University, Paris I in 2019, led to the idea of this present dialogue. Here, Wang (whose f ilms are off the beaten track in many ways) clarif ies his connection to various issues raised by post-cinema, in particular, the consequences of technological changes with regard to f ilm creation and distribution and evolution in the aesthetic conception of cinema.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115794912","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}
Post-cinemaPub Date : 2020-12-31DOI: 10.1515/9789048551941-015
Gabriela Rivadeneira Crespo
{"title":"13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film","authors":"Gabriela Rivadeneira Crespo","doi":"10.1515/9789048551941-015","DOIUrl":"https://doi.org/10.1515/9789048551941-015","url":null,"abstract":"By analyzing Extraordinary Stories (Historias Extraordinarias), a 2008 movie by Argentinean filmmaker Mariano Llinás, Gabriela Rivadeneira Crespo questions the “productivity of cinema devices” to fully exemplify the type of postmodern film where cinema and contemporary art collaborate. Paradoxically, this kind of film, given the radical choices that govern it, places it in an expanded film, but marginalizes it in relation to cinema industry. The locations and modes of reception of such films are also part of the definition of post-cinema in the post-art era.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129553570","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}
Post-cinemaPub Date : 2020-12-31DOI: 10.1515/9789048551941-017
R. Conte
{"title":"15. The Zidane Film","authors":"R. Conte","doi":"10.1515/9789048551941-017","DOIUrl":"https://doi.org/10.1515/9789048551941-017","url":null,"abstract":"Post-cinema in the post-art era can also arise from the collaboration of two artists, as in the case of Zidane: A 21st Century Portrait (2006), a film by Douglas Gordon and Philippe Parreno: 17 cameras placed around the Bernabéu stadium in Madrid where a match is taking place follow the well-known football player, Zinédine Zidane, from the beginning of the game until his dismissal. Richard Conte examines this special portrait, paying particular attention to how the film focuses primarily on Zidane and on details that could only be captured by the artistic filmic device. This in-depth analysis of such an approach and its astonishing filmic result also concern a social aspect of post-cinema that deserves to be highlighted: here, “the elitist contemporary art meets the most popular sport of the world and one of its most emblematic figures.”","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131248182","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}
Post-cinemaPub Date : 2020-12-31DOI: 10.1515/9789048551941-003
Dominique Château, J. Moure
{"title":"1. Introduction","authors":"Dominique Château, J. Moure","doi":"10.1515/9789048551941-003","DOIUrl":"https://doi.org/10.1515/9789048551941-003","url":null,"abstract":"Evidence is mounting that governments around the world are failing their communities. The causes of this global failure of government are manifold and interrelated, ranging from the rise of a political class, the associated growth of lobby groups, a growing plurality of voters, a mismatch between the length of the electoral cycle and today’s wicked public policy problems, subordination of the public service and, quite simply, governments that are lost in pursuit of self-interest. Poor government is accompanied by the addition to its structures of a growing number of task forces, royal commissions, government ‘coordinators’, tsars, commissioners, ombudsmen and standing committees. These various ad hoc additions to the fabric of government are placed on top of structures that are already marked by poor governance. This is underpinned by the absence of a discernible political or moral compass or courage. Good public policy today has few friends in conception and execution.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128914646","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}
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