By Laura U. Marks
In contact, Laura U. Marks develops a serious technique extra tactile than visible, an intensely actual and sensuous engagement with works of media paintings that enriches our realizing and adventure of those works and of paintings itself. those serious, theoretical, and private essays function a advisor to advancements in nonmainstream media artwork in past times ten years-sexual illustration debates, documentary ethics, the shift from analog to electronic media, a brand new social obsession with scent. Marks takes up famous artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known movie, video, and electronic artists. From this emerges a materialist theory-an embodied, erotic courting to paintings and to the realm. Marks's process ends up in an appreciation of the works' mortal our bodies: film's unstable emulsion, video's fragile magnetic base, crash-prone internet paintings; it additionally bargains a effective replacement to the preferred realizing of electronic media as "virtual" and immaterial. Weaving a continual cloth from philosophy, fiction, technological know-how, desires, and intimate event, contact opens a brand new global of artwork media to readers. Laura U. Marks, affiliate professor of movie reviews at Carleton collage, Ottawa, is a critic and curator of artists' self sustaining media. She is the writer of the surface of the movie (2000).
Read or Download Touch: Sensuous Theory and Multisensory Media PDF
Best movies books
Landscapes of loss: the national past in postwar French cinema
The best way each ecu kingdom after the WW2 reacted dealing with the internal and outer demons the bloody strains sealed in upon the collective subconscious, obviously diversified from kingdom in kingdom. whereas Italy determined to make a profound revision of its personal nature (The Italian Neo-realism) or Germany (supported via a fabulous literary flow and the intense elevating of memorable administrators corresponding to Fassbinder, Herzog, Wenders, Kluge, Schlondorff or Aldon), France due in nice half to their a number of creative traits, did not' t react because it have been, unanimously at the similar means.
The outline for this booklet, movie within the air of secrecy of paintings, can be impending.
Confronting Modernity in the Cinemas of Taiwan and Mainland China
Regardless of transformations within the political, social, and monetary platforms of Taiwan and mainland China, the method of modernization in either has challenged conventional cultural norms. Tonglin Lu examines how transformations in cultural formation among Taiwan and China have stimulated reactions to modernity and the way cultural id has taken diverse types on each side of the Taiwan straits.
Screening the Beats: Media Culture and the Beat Sensibility
Movie critic David Sterritt’s Screening the Beats: Media tradition and the Beat Sensibility showcases the social and aesthetic viewpoints of lynchpin Beat writers Jack Kerouac, William S. Burroughs, and Allen Ginsberg, juxtaposing their artistry with Fifties tradition and reaching what Kerouac may need known as a bookmovie” riff.
- Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema
- The German Patient: Crisis and Recovery in Postwar Culture (Social History, Popular Culture, and Politics in Germany)
- Early American Cinema in Transition: Story, Style, and Filmmaking, 1907-1913
- Literature and Film in the Third Reich
- Hollywood Incoherent: Narration in Seventies Cinema
- British Cinema of the 1950s: The Decline of Deference
Additional resources for Touch: Sensuous Theory and Multisensory Media
Sample text
However, each of the seven meditations concludes with shots of clear-cut forests and macabre dioramas of indigenous wildlife from a natural history museum. MacDonald sets up a melancholy contrast between two sorts of stationary-camera shots: those of living mountains, where the movements of cloud and shadow gradually alter the face of the slope, and those of the dead, stuffed creatures gradually gathering dust in the museum. Perversely, the dioramas are as chock-full of “human” qualities as stills from a s TV sitcom.
MacDonald sets up a melancholy contrast between two sorts of stationary-camera shots: those of living mountains, where the movements of cloud and shadow gradually alter the face of the slope, and those of the dead, stuffed creatures gradually gathering dust in the museum. Perversely, the dioramas are as chock-full of “human” qualities as stills from a s TV sitcom. Family groups of deer or of foxes pose in perpetuity, with dad at the head of the patriarchal pyramid; a single tableau captures bears, geese, and mountain goats in mid-activity like so many Saturday-morning shoppers; the dead animals’ glass eyes gleam with intelligence.
The second part, though, definitely happened. 8 The tape’s superior, épater le bourgeois attitude makes Feingold’s critique hard to countenance. Nevertheless, it deftly questions the Western hierarchy that thinks nothing of uprooting a person from his home and bringing him across the world to study, but reacts with horror to the notion that man’s best friend also makes a good main course. Another dog-as-dinner tape takes on these issues from a quite different perspective. Michael Cho’s Animal Appetites () documents the Still from Un Chien Délicieux (1991), by Ken Feingold.