Overview

This edited collection proposes new directions for understanding cinematic intermediality, mapping out innovative approaches to film's relationship with some of its most influential artistic predecessors in the fields of performance, sculpture, painting, photography and dance. With essays by leading researchers and practitioners, this book investigates cinema's productive synergies and crossovers with the other arts through a broad range of avant-garde and experimental work. Mapping a trajectory from pre-cinema to the digital era, the book considers the impact of technological materiality on intermedial expression, incorporating both mainstream and experimental practice, world cinema and peripheral cinemas. Bridging the gap between theory and practice, it opens up new pathways for thinking about how intermediality, as both a creative method and an interpretative paradigm, might be explored alongside probing questions of what cinema is, has been and can be.

Full Product Details

Author:   Kim Knowles (Lecturer in Film Studies, University of Aberystwyth) ,  Marion Schmid (rofessor of French Literature and Film, University of Edinburgh)
Publisher:   Edinburgh University Press
Imprint:   Edinburgh University Press
Weight:   0.488kg
ISBN:  

9781474446341

ISBN 10:   1474446345
Pages:   224
Publication Date:   16 February 2021
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

List of Illustrations Acknowledgements Contributors　 Introduction - Kim Knowles and Marion Schmid PART 1: MAPPING THE INTERZONE 1. 'Film and Performance: Intermedial Intersections’ - Stephen Barber 2. ‘Carving Cameras: Antonioni’s Lo Sguardo di Michelangelo (2004)’ - Steven Jacobs 3. ‘The Photo-Filmic and the Post-Human: Picturesque Landscapes at the Peripheries of Global Cinema’ - Ágnes Pethő 4. ‘Dream Screen:　On Cinema and Painting, Blur and Absorption’ - Martine Beugnet PART 2: THE INTERMEDIAL AVANT-GARDES 5. ‘From the Periphery to the Interstices: Avant-Garde Film, Medium Specificity and Intermediality, 1970-2015’ - Christopher Townsend 6. The ‘Artist as Filmmaker’: Modernisms, Schisms, Misunderstandings’ - Lucy Reynolds 7. ‘The Artwork/Statement as Intermedial Nexus: Paul Sharits’s N:O:T:H:I:N:G’ - Barnaby Dicker PART 3: TECHNOLOGY, APPARATUS, AFFECT 8. ‘Intermediality and the Origins of Cinema’ - Boris Wiseman 9. 'Cinematography’s Blind Spots: Artistic Exploitations of the Film Frame’ - Gabriele Jutz 10. ‘Filming and Feeling between the Arts: Pascale Breton, Suite Armoricaine and Eugène Green, Le Fils de Joseph’ - Marion Schmid PART 4: INTERMEDIAL CREATION 11. ‘What Does a Dance Filmmaker See?’ - Adam Roberts 12. ‘Performance, Moving Image, Installation: the Making of Body of War and Faith’ - Isabel Rocamora 13. ‘Muybridge's Disobedient Horses: Non-Stop Stop-Motion’ - Anna Vasof 14. ‘A Dialogue With Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror’ - Sarah Pucill Index

Reviews

This book adds significantly to our understanding of the histories, theories, and practices of cinematic intermediality. It includes exquisite explorations of filmic works, and offers a space for filmmakers to describe their intermedial engagements and fascinations. At a moment where the definition of film is in transformation, this volume of essays reminds us that the ontology of film has always been in mutually productive conversation with other art forms, enriching and being enriched by that which both solidifies and sets into movement its medium specificity.--Lucia Ruprecht, University of Cambridge

Together, these chapters succeed in updating the field of artistic intermediality on several fronts, pertinently adding to the ongoing theoretical debate and the empirical case studies available. This is undeniably a must-read book for that reason alone. [...] a fundamental overview of cinema's performative dimension.--Fátima Chinita ""Intermediality: A Performative Approach"" This book adds significantly to our understanding of the histories, theories, and practices of cinematic intermediality. It includes exquisite explorations of filmic works, and offers a space for filmmakers to describe their intermedial engagements and fascinations. At a moment where the definition of film is in transformation, this volume of essays reminds us that the ontology of film has always been in mutually productive conversation with other art forms, enriching and being enriched by that which both solidifies and sets into movement its medium specificity.--Lucia Ruprecht, University of Cambridge

Author Information

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).

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