Fr. 44.50

Motion(less) Pictures - The Cinema of Stasis

English · Paperback / Softback

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Informationen zum Autor Justin Remes is a special lecturer in film and literature at Oakland University. His essays have appeared in Cinema Journal, Screen, the British Journal of Aesthetics, and Film-Philosophy. Klappentext 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. Zusammenfassung Challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Inhaltsverzeichnis Acknowledgments1. Introduction: The Filmic2. Serious Immobilities: Andy Warhol! Erik Satie! and the Furniture Film3. Stasis in Fluxus: Disappearing Music for Face and Protracted Cinema4. Boundless Ontologies: Michael Snow! Wittgenstein! and the Textual Film5. Colored Blindness: Derek Jarman's Blue and the Monochrome Film6. Conclusion: Static Cinema in the Digital AgeAppendix 1. The Cinema of StasisAppendix 2. Films Relevant to Understanding the Cinema of StasisNotesIndex

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"An ambitious undertaking, supported by admirably clear prose and an impressive range of research." Richard Dienst, Rutgers University

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