Feminist worldmaking and the moving image

Public ISBD Titre : Feminist worldmaking and the moving image : [exposition, Berlin, Haus der Kulteren der Welt (HKW), 19 juin - 28 août 2022] Type de document : texte imprimé Auteurs : Erika Balsom ; Hila Peleg Editeur : Cambridge, Massachusetts : The MIT Press Année de publication : 2022 Autre Editeur : Berlin : Haus der Kulteren der Welt (HKW) Importance : 1 vol. (512 p.) Présentation : ill. en coul., couv. ill. en coul. Format : 24 cm ISBN/ISSN/EAN : 978-0-262-54452-8 Prix : 36 EUR Note générale : Publié à l'occasion de l'exposition No Master Territories : Feminist Worldmaking and the Moving Image à la Haus der Kulteren der Welt (HKW), à Berlin, du 19 juin au 28 août 2022 Langues : Anglais (eng) Mots-clés : féminisme  intersectionnalité  cinéma Index. décimale : VID vidéo Résumé : This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle—a way of not only picturing the world but remaking it. The contributors consider key decolonial filmmakers, including Trinh T. Minh-ha and Sarah Maldoror; explore collectively produced films with ties to women's liberation movements in different countries; and investigate the cinematic expressions of tensions and alliances between feminism and anti-imperialist struggles. They grapple with the need for a broader more inclusive definition of the term “feminism”; meditate on the figure of the grandmother; reflect on realist aesthetics; and ask what a feminist film historiography might look like. Note de contenu : Avec les textes de Helena Amiradżibi, Madeleine Bernstorff, Teresa Castro, Counter Encounters (Laura Huertas Millán, Onyeka Igwe, Rachael Rakes), Ayanna Dozier, Forough Farrokhzad, Safi Faye, Devika Girish, Elena Gorfinkel, Haneda Sumiko, Shai Heredia, Juliet Jacques, Sarah Keller, Nzingha Kendall, Julia Lesage, Beatrice Loayza, Janaína Oliveira, Lakshmi Padmanabhan, Yasmina Price, Elizabeth Ramírez-Soto, Pooja Rangan, Lis Rhodes, Sara Saljoughi, Rasha Salti, Isabel Seguí, Chick Strand, Monika Talarczyk, Trinh T. Minh-ha, Françoise Vergès, Claudia von Alemann, Mitsuyo Wada-Marciano, Shilyh Warren, Giovanna Zapperi Feminist worldmaking and the moving image : [exposition, Berlin, Haus der Kulteren der Welt (HKW), 19 juin - 28 août 2022] [texte imprimé] / Erika Balsom ; Hila Peleg . - Cambridge, Massachusetts : The MIT Press : Berlin : Haus der Kulteren der Welt (HKW), 2022 . - 1 vol. (512 p.) : ill. en coul., couv. ill. en coul. ; 24 cm. ISBN : 978-0-262-54452-8 : 36 EUR Publié à l'occasion de l'exposition No Master Territories : Feminist Worldmaking and the Moving Image à la Haus der Kulteren der Welt (HKW), à Berlin, du 19 juin au 28 août 2022 Langues : Anglais (eng) Mots-clés : féminisme  intersectionnalité  cinéma Index. décimale : VID vidéo Résumé : This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle—a way of not only picturing the world but remaking it. The contributors consider key decolonial filmmakers, including Trinh T. Minh-ha and Sarah Maldoror; explore collectively produced films with ties to women's liberation movements in different countries; and investigate the cinematic expressions of tensions and alliances between feminism and anti-imperialist struggles. They grapple with the need for a broader more inclusive definition of the term “feminism”; meditate on the figure of the grandmother; reflect on realist aesthetics; and ask what a feminist film historiography might look like. Note de contenu : Avec les textes de Helena Amiradżibi, Madeleine Bernstorff, Teresa Castro, Counter Encounters (Laura Huertas Millán, Onyeka Igwe, Rachael Rakes), Ayanna Dozier, Forough Farrokhzad, Safi Faye, Devika Girish, Elena Gorfinkel, Haneda Sumiko, Shai Heredia, Juliet Jacques, Sarah Keller, Nzingha Kendall, Julia Lesage, Beatrice Loayza, Janaína Oliveira, Lakshmi Padmanabhan, Yasmina Price, Elizabeth Ramírez-Soto, Pooja Rangan, Lis Rhodes, Sara Saljoughi, Rasha Salti, Isabel Seguí, Chick Strand, Monika Talarczyk, Trinh T. Minh-ha, Françoise Vergès, Claudia von Alemann, Mitsuyo Wada-Marciano, Shilyh Warren, Giovanna Zapperi

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The cinema effec / Sean Cubitt

Public ISBD Titre : The cinema effec Type de document : texte imprimé Auteurs : Sean Cubitt, Auteur Editeur : Cambridge, Massachusetts : The MIT Press Année de publication : 2004 Importance : IX-456 p. Présentation : ill. Format : 23 cm. ISBN/ISSN/EAN : 0-262-03312-7 Prix : 57 eur Langues : Anglais (eng) Index. décimale : THE C Théorie cinéma Résumé : It has been said that all cinema is a special effect. In this highly original examination of time in film Sean Cubitt tries to get at the root of the uncanny effect produced by images and sounds that don't quite align with reality. What is it that cinema does? Cubitt proposes a history of images in motion from a digital perspective, for a digital audience. From the viewpoint of art history, an image is discrete, still. How can a moving image--constructed from countless constituent images--even be considered an image? And where in time is an image in motion located? Cubitt traces the complementary histories of two forms of the image/motion relationship--the stillness of the image combined with the motion of the body (exemplified by what Cubitt calls the "protocinema of railway travel") and the movement of the image combined with the stillness of the body (exemplified by melodrama and the magic lantern). He argues that the magic of cinema arises from the intertwining relations between different kinds of movement, different kinds of time, and different kinds of space. He begins with a discussion of "pioneer cinema," focusing on the contributions of French cinematic pioneers in the late nineteenth and early twentieth centuries. He then examines the sound cinema of the 1930s, examining film effects in works by Eisenstein, Jean Renoir, and Hollywood's RKO studio. Finally he considers what he calls "post cinema," examining the postwar development of the "spatialization" of time through slow motion, freeze-frame, and steadi-cam techniques. Students of film will find Cubitt's analyses of noncanonical films like Sam Peckinpah's Pat Garrett and Billy the Kid as enlightening as his fresh takes on such classics as Renoir's Rules of the Game. The cinema effec [texte imprimé] / Sean Cubitt, Auteur . - Cambridge, Massachusetts : The MIT Press, 2004 . - IX-456 p. : ill. ; 23 cm. ISBN : 0-262-03312-7 : 57 eur Langues : Anglais (eng) Index. décimale : THE C Théorie cinéma Résumé : It has been said that all cinema is a special effect. In this highly original examination of time in film Sean Cubitt tries to get at the root of the uncanny effect produced by images and sounds that don't quite align with reality. What is it that cinema does? Cubitt proposes a history of images in motion from a digital perspective, for a digital audience. From the viewpoint of art history, an image is discrete, still. How can a moving image--constructed from countless constituent images--even be considered an image? And where in time is an image in motion located? Cubitt traces the complementary histories of two forms of the image/motion relationship--the stillness of the image combined with the motion of the body (exemplified by what Cubitt calls the "protocinema of railway travel") and the movement of the image combined with the stillness of the body (exemplified by melodrama and the magic lantern). He argues that the magic of cinema arises from the intertwining relations between different kinds of movement, different kinds of time, and different kinds of space. He begins with a discussion of "pioneer cinema," focusing on the contributions of French cinematic pioneers in the late nineteenth and early twentieth centuries. He then examines the sound cinema of the 1930s, examining film effects in works by Eisenstein, Jean Renoir, and Hollywood's RKO studio. Finally he considers what he calls "post cinema," examining the postwar development of the "spatialization" of time through slow motion, freeze-frame, and steadi-cam techniques. Students of film will find Cubitt's analyses of noncanonical films like Sam Peckinpah's Pat Garrett and Billy the Kid as enlightening as his fresh takes on such classics as Renoir's Rules of the Game.

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