000 03973nam a22006015i 4500
001 183823
003 IT-RoAPU
005 20221214232055.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 220302t20152015nyu fo d z eng d
010 _a2014029304
019 _a(OCoLC)905914035
020 _a9780231169622
_qprint
020 _a9780231538909
_qPDF
024 7 _a10.7312/reme16962
_2doi
035 _a(DE-B1597)9780231538909
035 _a(DE-B1597)458475
035 _a(OCoLC)904237992
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 0 0 _aPN1995.9.E96
_bR395 2015
050 4 _aPN1995.9 .E96 R395 2015
072 7 _aPER004030
_2bisacsh
082 0 4 _a791.43
084 _aonline - DeGruyter
100 1 _aRemes, Justin
_eautore
245 1 0 _aMotion(less) Pictures :
_bThe Cinema of Stasis /
_cJustin Remes.
264 1 _aNew York, NY :
_bColumbia University Press,
_c[2015]
264 4 _c©2015
300 _a1 online resource (216 p.) :
_b‹B›10 b&w photographs‹/B›
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aFilm and Culture Series
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_t1. Introduction --
_t2. Serious Immobilities --
_t3. Stasis in Fluxus --
_t4. Boundless Ontologies --
_t5. Colored Blindness --
_t6. Conclusion --
_tAppendix 1. The Cinema of Stasis --
_tAppendix 2. Films Relevant to Understanding the Cinema of Stasis --
_tNotes --
_tIndex --
_tBackmatter
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aConducting 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.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650 0 _aAvant-garde (Aesthetics)
650 0 _aAvant-garde (Aesthetics).
650 0 _aExperimental films
_xHistory and criticism.
650 0 _aPerforming arts
_xReference.
650 7 _aPERFORMING ARTS / Film & Video / History & Criticism.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7312/reme16962
856 4 0 _uhttps://www.degruyter.com/isbn/9780231538909
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780231538909/original
942 _cEB
999 _c183823
_d183823