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As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema, and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.
Kim Knowles lectures in Alternative and Experimental Film at Aberystwyth University and curates the Black Box experimental strand of the Edinburgh International Film Festival.
Marion Schmid is Professor of French Literature and Film at the University of Edinburgh.
Inhaltsverzeichnis
List of Illustrations
Acknowledgements
Contributors
Introduction - Kim Knowles and Marion Schmid
PART 1: MAPPING THE INTERZONE
1. Stephen Barber, 'Film and Performance: Intermedial Intersections'
2. Steven Jacobs, 'Carving Cameras: Antonioni's Lo Sguardo di Michelangelo (2004)'
3. Ágnes Petho, 'The Photo-Filmic and the Post-Human: Picturesque Landscapes at the Peripheries of Global Cinema'
4. Martine Beugnet, 'Dream Screen: On Cinema and Painting, Blur and Absorption'
PART 2: THE INTERMEDIAL AVANT-GARDES
5. Christopher Townsend, 'From the Periphery to the Interstices: Avant-Garde Film, Medium Specificity and Intermediality, 1970-2015'
6. Lucy Reynolds, The 'Artist as Filmmaker': Modernisms, Schisms, Misunderstandings'
7. Barnaby Dicker, 'The Artwork/Statement as Intermedial Nexus: Paul Sharits's N:O:T:H:I:N:G'
PART 3: TECHNOLOGY, APPARATUS, AFFECT
8. Boris Wiseman, 'Intermediality and the Origins of Cinema'
9. Gabriele Jutz, 'Cinematography's Blind Spots: Artistic Exploitations of the Film Frame'
10. Marion Schmid, 'Filming and Feeling between the Arts: Pascale Breton, Suite Armoricaine and Eugène Green, Le Fils de Joseph'
PART 4: INTERMEDIAL CREATION
11. Adam Roberts, 'What Does a Dance Filmmaker See?'
12. Isabel Rocamora, 'Performance, Moving Image, Installation: the Making of Body of War and Faith'
13. Anna Vasof, 'Muybridge's Disobedient Horses: Non-Stop Stop-Motion'
14. Sarah Pucill, 'A Dialogue With Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror'
Index
Über den Autor / die Autorin
Kim Knowles is Lecturer in Alternative and Experimental Film at Aberystwyth University and Experimental Film Programmer at the Edinburgh International Film Festival. She is the author of Experimental Film and Photochemical Practices (2020) and A Cinematic Artist: The Films of Man Ray (2009/12).Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications on film include Intermedial Dialogues: The French New Wave and the Other Arts (2019), Chantal Akerman (2010), and Proust at the Movies (2005, with Martine Beugnet).
Zusammenfassung
Outlines an innovative agenda for understanding film’s interaction with other art forms.
