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Motion(less) Pictures : The Cinema of Stasis / Justin Remes.

By: Material type: TextTextSeries: Film and Culture SeriesPublisher: New York, NY : Columbia University Press, [2015]Copyright date: ©2015Description: 1 online resource (216 p.) : ‹B›10 b&w photographs‹/B›Content type:
Media type:
Carrier type:
ISBN:
  • 9780231169622
  • 9780231538909
Subject(s): DDC classification:
  • 791.43
LOC classification:
  • PN1995.9.E96 R395 2015
  • PN1995.9 .E96 R395 2015
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Acknowledgments -- 1. Introduction -- 2. Serious Immobilities -- 3. Stasis in Fluxus -- 4. Boundless Ontologies -- 5. Colored Blindness -- 6. Conclusion -- Appendix 1. The Cinema of Stasis -- Appendix 2. Films Relevant to Understanding the Cinema of Stasis -- Notes -- Index -- Backmatter
Summary: Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol's Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature. Analyzing four categories of static film--furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image--Remes maps the interrelations between movement, stillness, and duration and their complication of cinema's conventional function and effects. Arguing all films unfold in time, he suggests duration is more fundamental to cinema than motion, initiating fresh inquiries into film's manipulation of temporality, from rigidly structured works to those with more ambiguous and open-ended frameworks. Remes's discussion integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and will appeal to students of film theory, experimental cinema, intermedia studies, and aesthetics.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780231538909

Frontmatter -- Contents -- Acknowledgments -- 1. Introduction -- 2. Serious Immobilities -- 3. Stasis in Fluxus -- 4. Boundless Ontologies -- 5. Colored Blindness -- 6. Conclusion -- Appendix 1. The Cinema of Stasis -- Appendix 2. Films Relevant to Understanding the Cinema of Stasis -- Notes -- Index -- Backmatter

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol's Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature. Analyzing four categories of static film--furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image--Remes maps the interrelations between movement, stillness, and duration and their complication of cinema's conventional function and effects. Arguing all films unfold in time, he suggests duration is more fundamental to cinema than motion, initiating fresh inquiries into film's manipulation of temporality, from rigidly structured works to those with more ambiguous and open-ended frameworks. Remes's discussion integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and will appeal to students of film theory, experimental cinema, intermedia studies, and aesthetics.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)