Post-cinemaPub Date : 2020-12-31DOI: 10.1515/9789048551941-008
Victor Burgin
{"title":"6. Mutation, Appropriation and Style","authors":"Victor Burgin","doi":"10.1515/9789048551941-008","DOIUrl":"https://doi.org/10.1515/9789048551941-008","url":null,"abstract":"Victor Burgin’s text provides a theoretical reflection on the technological transformations of what he calls the “field of ‘photofilmic’ practices.” He postulates that “cinema” directs our minds to “technological mutation,” while “art” evokes the “ideologico-economic appropriation.” Using as a framework of reasoning themes that gave rise to the publications of the Key Debates series – screen and stories – and adding the idea of virtual object as resulting from the convergence of the digital with the contemporary, Burgin highlights the advent of new “photofilmic narrative forms” characterized by the combination of complexity and affectivity.”","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"12 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":"116959954","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: 10.1515/9789048551941-020
Gérard Courant, Dominique Château, J. Moure
{"title":"18. Cinématon: The Shortest Films for the Longest Film – A Dialogue","authors":"Gérard Courant, Dominique Château, J. Moure","doi":"10.1515/9789048551941-020","DOIUrl":"https://doi.org/10.1515/9789048551941-020","url":null,"abstract":"Since the mid-1970s, Gérard Courant has been one of those pioneers who seeks to test cinema’s limits from within and without, from the center of the medium to its peripheries. He continues his quest, never ceasing to accumulate a considerable number of films and, in particular, one film or series of films, which continues to grow, the Cinématon(s), which form the heart of this dialogue between Gérard Courant, Dominique Chateau and José Moure. Courant’s work, which comprises numerous filmed portraits of personalities as well as filmed street inventories, is of considerable extension. It is in this very principle of infinite proliferation of films of varying lengths that we find a kind of Mnemosyne cinema challenging the “de-definition” (Harold Rosenberg) of cinema which transforms it into post-art.","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":"130139584","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 : 2020-11-23DOI: 10.1515/9789048551941-012
M. Hagener
{"title":"10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations","authors":"M. Hagener","doi":"10.1515/9789048551941-012","DOIUrl":"https://doi.org/10.1515/9789048551941-012","url":null,"abstract":"","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"234 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123882408","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 : 2020-09-29DOI: 10.2307/j.ctv1b0fvtp.19
R. Conte
{"title":"The Zidane Film","authors":"R. Conte","doi":"10.2307/j.ctv1b0fvtp.19","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.19","url":null,"abstract":"Post-cinema in the post-art era can also arise from the collaboration of\u0000 two artists, as in the case of Zidane: A 21st Century Portrait (2006), a\u0000 film by Douglas Gordon and Philippe Parreno: 17 cameras placed around\u0000 the Bernabéu stadium in Madrid where a match is taking place follow the\u0000 well-known football player, Zinédine Zidane, from the beginning of the\u0000 game until his dismissal. Richard Conte examines this special portrait,\u0000 paying particular attention to how the film focuses primarily on Zidane\u0000 and on details that could only be captured by the artistic filmic device.\u0000 This in-depth analysis of such an approach and its astonishing filmic\u0000 result also concern a social aspect of post-cinema that deserves to be\u0000 highlighted: here, “the elitist contemporary art meets the most popular\u0000 sport of the world and one of its most emblematic figures.”","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"56 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120973650","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 : 2020-09-29DOI: 10.2307/j.ctv1b0fvtp.14
M. Hagener
{"title":"Thinking Inside and Outside of the (Black) Box","authors":"M. Hagener","doi":"10.2307/j.ctv1b0fvtp.14","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.14","url":null,"abstract":"Malte Hagener considers two dimensions of the changes in the\u0000 audiovisual field: the first is exemplified by the Netflix platform on\u0000 the economic and logistical level; the second concerns the aesthetic\u0000 consequences of this new model of production and distribution. Characterized\u0000 by a high level of autonomy and self-consciousness of this status,\u0000 Netflix’s system is transforming the practice of film and the notion we\u0000 have of it. Referencing Bird Box (2018), the “post-apocalyptic thriller”\u0000 (Wikipedia) directed by Susanne Bier and starring Sandra Bullock,\u0000 Hagener exemplifies that a post-cinema movie may be positioned\u0000 between cinema, television and new media, appearing as a “self-allegory\u0000 of its own position in a new media environment, especially concerning\u0000 its production logic.”","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126852953","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 : 2020-09-29DOI: 10.5117/9789463727235_ch12
Miriam De Rosa
{"title":"Dwelling with Moving Images","authors":"Miriam De Rosa","doi":"10.5117/9789463727235_ch12","DOIUrl":"https://doi.org/10.5117/9789463727235_ch12","url":null,"abstract":"Some filmmakers or artists decide to put art at the heart of their creation,\u0000 applying not only the relationship between cinema and art to their concept\u0000 but also to various aspects of the process of creation. Miriam De Rosa\u0000 addresses this kind of “art contemporary turn” by examining the different\u0000 incursions of cinema from the point of view of the contemporary art space:\u0000 “how the contemporary experience of moving images is articulated when\u0000 it enters art spaces.” The presence of film in this foreign space, transforming\u0000 it into a different and personalized place, can be observed in recent\u0000 exhibitions: Sleepwalkers (2007); Marta Minujín’s Mesunda Reloaded\u0000 (2019) at the New Museum in New York; and Sensitive Environments by\u0000 the Milan-based collective Studio Azzurro.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115251913","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 : 2020-09-29DOI: 10.2307/j.ctv1b0fvtp.16
M. D. Rosa
{"title":"Dwelling with Moving Images","authors":"M. D. Rosa","doi":"10.2307/j.ctv1b0fvtp.16","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.16","url":null,"abstract":"","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132178738","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 : 2020-09-29DOI: 10.1515/9789048551941-010
C. Genin
{"title":"8. In-Flight Entertainment or the Emptying Process of Art in the Air","authors":"C. Genin","doi":"10.1515/9789048551941-010","DOIUrl":"https://doi.org/10.1515/9789048551941-010","url":null,"abstract":"Despite a series of material changes to the medium throughout its history,\u0000 cinema has remained a “common immersive experience” insofar as it was\u0000 based on the illusion of reality. However, the most important change is\u0000 that this is no longer true: post-cinema, writes Christophe Génin, can be\u0000 considered a defection of the original experience of watching movies. This\u0000 situation has to do with social and economic transformations, implying\u0000 the conversion of cultural industry to service to the person and a deep\u0000 variation in the aesthetic experience, which Génin proposes to understand\u0000 through an analysis of the experience of individual screens in aircraft. A\u0000 confined space such as an aircraft seat isolates the individual to whom\u0000 it is offered in a moment of “solipsism of caprice.”","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115659949","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 : 2020-09-29DOI: 10.2307/j.ctv1b0fvtp.18
D. Château
{"title":"Art, Otherwise Than Art","authors":"D. Château","doi":"10.2307/j.ctv1b0fvtp.18","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.18","url":null,"abstract":"Dominique Chateau posits that post-art can be characterized by the formula: art, otherwise than art. It means that in the institutional context presently governing art, the artworks or what serves as such, including objects or acts claiming non-art, are explicitly exhibited as art while different kinds of physical or mental attitudes are allowed toward them that have nothing to do with art in the first place. It is in this art, otherwise than art context that cinema and contemporary art are mutually challenging, as can be seen in the meeting of cinema with the dispositifs of exhibition spaces; the intrusion of cinema into art or post-art places. More generally, this possibility opens news paths for creation: new filmic form, changes in the creators’ status, and the advent of exhibitions of a new kind.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127358311","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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