語系:
繁體中文
English
說明(常見問題)
登入
回首頁
切換:
標籤
|
MARC模式
|
ISBD
Durational Cinema = A Short History of Long Films /
紀錄類型:
書目-語言資料,印刷品 : Monograph/item
正題名/作者:
Durational Cinema/ by Michael Walsh.
其他題名:
A Short History of Long Films /
作者:
Walsh, Michael.
面頁冊數:
XIII, 289 p.online resource. :
Contained By:
Springer Nature eBook
標題:
Film Theory. -
電子資源:
https://doi.org/10.1007/978-3-030-76092-2
ISBN:
9783030760922
Durational Cinema = A Short History of Long Films /
Walsh, Michael.
Durational Cinema
A 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:
1108149
Film Theory.
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
2 4
$a
Film Theory.
$3
1108149
650
2 4
$a
Film and TV History.
$3
1388863
650
1 4
$a
Experimental Film.
$3
1299681
650
0
$a
Motion pictures.
$3
562481
650
0
$a
Motion pictures—History.
$3
1254173
650
0
$a
Experimental films.
$3
1299680
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)
筆 0 讀者評論
多媒體
評論
新增評論
分享你的心得
Export
取書館別
處理中
...
變更密碼[密碼必須為2種組合(英文和數字)及長度為10碼以上]
登入