Post-cinemaPub Date : 2020-09-29DOI: 10.2307/j.ctv1b0fvtp.15
F. Casetti, A. Pinotti
{"title":"Post-cinema Ecology","authors":"F. Casetti, A. Pinotti","doi":"10.2307/j.ctv1b0fvtp.15","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.15","url":null,"abstract":"Instead of developing the general theme of the immersive experience, Francesco Casetti and Andrea Pinotti exemplify it by focusing specifically on Alejandro G. Iñárritu’s Carne y arena, an interactive virtual reality installation presented at the 2017 Cannes Film Festival, insofar as it testifies to the formal and spectatorial transformations that are rightly referred to as post-cinema. More generally, emphasizing the characteristics of “unframedness, presentness, and immediateness,” this kind of work draws our attention to the phenomenology of the film experience. Casetti and Pinotti propose going beyond phenomenology (and ontology) with the project of an iconic ecology based on the concept of phaneron, the appearance as it is perceived for itself.","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":"131054690","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.8
A. Gaudreault, P. Marion
{"title":"Cinema Hangs Tough","authors":"A. Gaudreault, P. Marion","doi":"10.2307/j.ctv1b0fvtp.8","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.8","url":null,"abstract":"Starting from a new formulation to the end of cinema issue – “What\u0000 remains of cinema?” – Gaudreault and Marion answer: “cinema is hanging\u0000 tough” and argue that the “resilience” of cinema depends on what we are\u0000 talking about with this word both in terms of digitalization and cultural\u0000 differences. They examine the different hypotheses arising in this regard\u0000 from the point of view of the range of words it mobilizes (cinema, movie,\u0000 moving images, and so on). Differences in naming are “highly significant”\u0000 as we can observe in a Bogdanovitch-Welles dialogue or at the occasion\u0000 of the Netflix controversy during the recent Cannes or Venice festivals.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"63 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":"116538817","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.11
G. Fossati, A. van den Oever
{"title":"The Twenty-First-Century Post-cinematic Ecology of the Film Museum","authors":"G. Fossati, A. van den Oever","doi":"10.2307/j.ctv1b0fvtp.11","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.11","url":null,"abstract":"","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"6 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":"134394351","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.23
Wang Bing, Dominique Château, J. Moure
{"title":"Documentary as Contemporary Art – A Dialogue","authors":"Wang Bing, Dominique Château, J. Moure","doi":"10.2307/j.ctv1b0fvtp.23","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.23","url":null,"abstract":"Wang Bing can be considered one of the greatest representatives of\u0000 contemporary Chinese cinema. A meeting between him, Dominique\u0000 Chateau and José Moure at a Master Class, as part of a series of Interface\u0000 meetings at the Panthéon-Sorbonne University, Paris I in 2019, led to the\u0000 idea of this present dialogue. Here, Wang (whose films are off the beaten\u0000 track in many ways) clarifies his connection to various issues raised by\u0000 post-cinema, in particular, the consequences of technological changes\u0000 with regard to film creation and distribution and evolution in the aesthetic\u0000 conception of cinema.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"78 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":"125457580","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.20
Christophe Viart
{"title":"The Happy Failure","authors":"Christophe Viart","doi":"10.2307/j.ctv1b0fvtp.20","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.20","url":null,"abstract":"Among the most interesting and humorous artists that Marcel Duchamp\u0000 has inspired, Christophe Viart proposes considering another of Marcel’s\u0000 incursions into film. Marcel Broodthaers was a Belgian contemporary\u0000 artist whose range of activities also covered poetry and (post-)cinema. A\u0000 single film can have considerable theoretical power. This is the case with\u0000 La pluie (Projet pour un texte) [The Rain (Project for a Text)], a\u0000 1969 two-minute 16mm black-and-white film, which presents Broodthaers\u0000 attempting to write on paper in the rain. Is it a film? Is it cinema? This\u0000 may be the material of a regular film, but not the spirit. We are definitely\u0000 in the post-art era…","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"5 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":"133193336","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.17
Gabriela Rivadeneira Crespo
{"title":"Extraordinary Stories, a Mariano Llinás Postmodern Art Film","authors":"Gabriela Rivadeneira Crespo","doi":"10.2307/j.ctv1b0fvtp.17","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvtp.17","url":null,"abstract":"By analyzing Extraordinary Stories (Historias Extraordinarias),\u0000 a 2008 movie by Argentinean filmmaker Mariano Llinás, Gabriela Rivadeneira\u0000 Crespo questions the “productivity of cinema devices” to fully\u0000 exemplify the type of postmodern film where cinema and contemporary\u0000 art collaborate. Paradoxically, this kind of film, given the radical choices\u0000 that govern it, places it in an expanded film, but marginalizes it in relation\u0000 to cinema industry. The locations and modes of reception of such films\u0000 are also part of the definition of post-cinema in the post-art era.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"46 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":"124633716","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: 10.1515/9789048551941-011
F. Jost
{"title":"9. What Kind of Art Is the Cinema of Interactions?","authors":"F. Jost","doi":"10.1515/9789048551941-011","DOIUrl":"https://doi.org/10.1515/9789048551941-011","url":null,"abstract":"“What kind of art is the cinema of interactions?” This title promotes\u0000 the concept of interaction; the intention is therefore to analyze “a work\u0000 that presents itself as openly interactive: Bandersnatch” (2018), a part\u0000 of the science-fiction anthology series Black Mirror. With the help\u0000 of Goodman and Genette, François Jost develops two major concepts\u0000 previously coined by the former – autography and allography – to help\u0000 answer the question as to whether the opposition between film and TV\u0000 series has to do with differences in artistic quality, a debate exacerbated by\u0000 Netflix’s candidacy at film festivals. Using also a comparison with music\u0000 partitions, Jost wonders whether the viewer of the interactive work may\u0000 be called an operator, performer, player, or interpreter.","PeriodicalId":162773,"journal":{"name":"Post-cinema","volume":"81 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":"133616080","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: 10.1515/9789048551941-016
Dominique Château
{"title":"14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge","authors":"Dominique Château","doi":"10.1515/9789048551941-016","DOIUrl":"https://doi.org/10.1515/9789048551941-016","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":"51 28","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120817310","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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