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Post-cinema: Cinema in the Post-art Era (Key Debates: Mutations and Appropriations in European Film Studies) - Hardcover

 
9789463727235: Post-cinema: Cinema in the Post-art Era (Key Debates: Mutations and Appropriations in European Film Studies)

Inhaltsangabe

Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent it represents a unitary or diversified current. The book proposes to integrate the post-cinema question within the post-art question in order to study the new ways of making filmic images.

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Über die Autorin bzw. den Autor

José Moure is Professor of Cinema Studies in the Sorbonne School of the Arts at Panthéon-Sorbonne University, Paris I. He is director of the Research Institute ACTE. Dominique Chateau is Emeritus Professor of Aesthetics and Cinema at the Sorbonne School of the Arts at Panthéon-Sorbonne University, Paris I.

Von der hinteren Coverseite

Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent it represents a unitary or diversified current. The book proposes to integrate the post-cinema question within the post-art question in order to study the new ways of making filmic images. The issue will be considered at three levels: the impression of post-art on "regular" films; the "relocation" (Casetti) of the same films that can be seen using devices of all kinds in conditions more or less removed from the dispositif of the theater; the integration of cinema into contemporary art in all kinds of forms of creation and exhibition, parallel to the integration of contemporary art in "regular" cinema.

Aus dem Klappentext

Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent it represents a unitary or diversified current. The book proposes to integrate the post-cinema question within the post-art question in order to study the new ways of making filmic images. The issue will be considered at three levels: the impression of post-art on "regular" films; the "relocation" (Casetti) of the same films that can be seen using devices of all kinds in conditions more or less removed from the dispositif of the theater; the integration of cinema into contemporary art in all kinds of forms of creation and exhibition, parallel to the integration of contemporary art in "regular" cinema.

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