國立虎尾科技大學 |

Durational Cinema = A Short History of Long Films /

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Durational Cinema/ by Michael Walsh.
Reminder of title:	A Short History of Long Films /
Author:	Walsh, Michael.
Description:	XIII, 289 p.online resource. :
Contained By:	Springer Nature eBook
Subject:	Experimental films. -
Online resource:	https://doi.org/10.1007/978-3-030-76092-2
ISBN:	9783030760922

Durational Cinema = A Short History of Long Films /
Walsh, Michael.

Durational CinemaA Short History of Long Films /[electronic resource] :by Michael Walsh. - 1st ed. 2022. - XIII, 289 p.online resource. - Experimental Film and Artists’ Moving Image,2523-7535. - Experimental Film and Artists’ Moving Image,.

1. Introduction -- 2. The New York Avant-Garde of the 1960s -- 3. European Art Cinema in the Years After 1968 -- 4. Gallery and Museum Spaces Since the 1990s -- 5. Durational Documentary.

This book argues for a durational cinema that is distinct from slow cinema, and outlines the history of its three main waves: the New York avant-garde of the 1960s, the European art cinema in the years after 1968, and the international cinema of gallery spaces as well as film festivals since the 1990s. Figures studied include Andy Warhol, Ken Jacobs, Chantal Akerman, Marguerite Duras, Claude Lanzmann, James Benning, Kevin Jerome Everson, Lav Diaz, and Wang Bing.Durational cinema is predominantly minimal, but has from the beginning also included a more encompassing or encyclopedic kind of filmmaking. Durational cinema is characteristically representational, and converges on certain topics (the Holocaust, deindustrialization, the experience of the working class and other marginalized people), but has no one meaning, signifying differently at different moments and in different hands. Warhol’s durational cinema of subtraction is quite different from Jacobs’s durational cinema of social disgust, while Lav Diaz’ durational sublime is quite different from Kevin Jerome Everson’s unblinking studies of African-American working people.

ISBN: 9783030760922

Standard No.: 10.1007/978-3-030-76092-2doiSubjects--Topical Terms:

1299680
Experimental films.

LC Class. No.: PN1995.9.E96

Dewey Class. No.: 791.4361

Durational Cinema = A Short History of Long Films /
LDR:02783nam a22004095i 4500 001 1086272
003 DE-He213
005 20221208194636.0
007 cr nn 008mamaa
008 221228s2022 sz | s |||| 0|eng d
020 $a 9783030760922 $9 978-3-030-76092-2
024 7 $a 10.1007/978-3-030-76092-2 $2 doi
035 $a 978-3-030-76092-2
050 4 $a PN1995.9.E96
072 7 $a APFN $2 bicssc
072 7 $a ART057000 $2 bisacsh
072 7 $a ATF $x 6AQ $2 thema
082 0 4 $a 791.4361 $2 23
100 1 $a Walsh, Michael. $e author. $4 aut $4 http://id.loc.gov/vocabulary/relators/aut $3 1393009
245 1 0 $a Durational Cinema $h [electronic resource] : $b A Short History of Long Films / $c by Michael Walsh.
250 $a 1st ed. 2022.
264 1 $a Cham : $b Springer International Publishing : $b Imprint: Palgrave Macmillan, $c 2022.
300 $a XIII, 289 p. $b online resource.
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
347 $a text file $b PDF $2 rda
490 1 $a Experimental Film and Artists’ Moving Image, $x 2523-7535
505 0 $a 1. Introduction -- 2. The New York Avant-Garde of the 1960s -- 3. European Art Cinema in the Years After 1968 -- 4. Gallery and Museum Spaces Since the 1990s -- 5. Durational Documentary.
520 $a This book argues for a durational cinema that is distinct from slow cinema, and outlines the history of its three main waves: the New York avant-garde of the 1960s, the European art cinema in the years after 1968, and the international cinema of gallery spaces as well as film festivals since the 1990s. Figures studied include Andy Warhol, Ken Jacobs, Chantal Akerman, Marguerite Duras, Claude Lanzmann, James Benning, Kevin Jerome Everson, Lav Diaz, and Wang Bing.Durational cinema is predominantly minimal, but has from the beginning also included a more encompassing or encyclopedic kind of filmmaking. Durational cinema is characteristically representational, and converges on certain topics (the Holocaust, deindustrialization, the experience of the working class and other marginalized people), but has no one meaning, signifying differently at different moments and in different hands. Warhol’s durational cinema of subtraction is quite different from Jacobs’s durational cinema of social disgust, while Lav Diaz’ durational sublime is quite different from Kevin Jerome Everson’s unblinking studies of African-American working people.
650 0 $a Experimental films. $3 1299680
650 0 $a Motion pictures—History. $3 1254173
650 0 $a Motion pictures. $3 562481
650 1 4 $a Experimental Film. $3 1299681
650 2 4 $a Film and TV History. $3 1388863
650 2 4 $a Film Theory. $3 1108149
710 2 $a SpringerLink (Online service) $3 593884
773 0 $t Springer Nature eBook
776 0 8 $i Printed edition: $z 9783030760915
776 0 8 $i Printed edition: $z 9783030760939
776 0 8 $i Printed edition: $z 9783030760946
830 0 $a Experimental Film and Artists’ Moving Image, $x 2523-7527 $3 1280504
856 4 0 $u https://doi.org/10.1007/978-3-030-76092-2
912 $a ZDB-2-LCM
912 $a ZDB-2-SXL
950 $a Literature, Cultural and Media Studies (SpringerNature-41173)
950 $a Literature, Cultural and Media Studies (R0) (SpringerNature-43723)