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Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.>
A propos de l'auteur
Jihoon Kim is Professor of Cinema and Media Studies at Chung-Ang University, South Korea. He is the author of Activism and Post-activism: Korean Documentary Cinema, 1981-2022 (2024), Documentary’s Expanded Fields: New Media and the Twenty-First-Century Documentary (2022), and Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age (Bloomsbury, 2016). Currently he is working on two book projects, Crisis Media: Expanded Media in the Precarious 21st Century and Mathemagical Media: On Generative AI.
