Between Film, Video, and the Digital: Hybrid Moving Images in the Post-Media Age (International Texts in Critical Media Aesthetics)

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, __Between Film, Video, and the Digital__ offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image. Title Page Copyright Page Contents Editor’s Foreword Acknowledgments List of Illustrations Introduction: Hybrid moving images and the post-media conditions Hybrid moving images and medium specificity Post-media conditions Film’s post-media conditions Video’s post-media conditions Intermedial approaches to hybrid moving images Chapter 1 Videographic moving pictures: Remediating the “film stilled” and the “still film” Introduction: “moving pictures” in the post-photographic era Digital video’s manipulation of surface and time in Taylor-Johnson, Lewis, and Viola Remediating the “still film” and the “film stilled” in Tan, Hannah, and Claerbout Conclusion Chapter 2 Digital glitch video and mixed-media abstraction: Materialism and hybrid abstraction in the digital age Introduction: Digital abstract moving images and hybridity Digital glitch videos: Digital materialism and aesthetic-technical hybridity Mixed-media abstraction Conclusion Chapter 3 Transitional found footage practices: Video in and out of the cinematic fragments Introduction: Defining transitional found footage practices The technical transition of found footage practices: Montage and special effects Deconstructive compilation: Montage and special effects in Girardet-Müller Transitional found footage practices as dialectical and archival R. Bruce Elder: The ruin of images between chemical and digital transformations Film frames’ infinite lives in the digital realm: Ken Jacobs’s recent digital videos Conclusion Chapter 4 Intermedial essay films: “Memories-in-between” Introduction: Essay films between the filmic and the post-filmic Video, memories-in-between, and intermedial essay films Hito Steyerl: Politics of the “poor image” Intermedial Palimpsests in Lynne Sachs’s experimental documentary films Intermedial processing of home movies: Trains of Winnipeg: 14 Film Poems and Tarnation Conclusion Chapter 5 Cinematic video installations: Hybridized apparatuses inside the black box Introduction Between “remaking cinema” and “degenerated video art”: Strategies of spatialization: Farocki, Ataman, Aitken, Ahtila Strategies of temporalization: Gordon, Breitz, Douglas Conclusion Afterword Notes Introduction Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Afterword Index Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image Encompassing Experimental Film And Video, Essay Film, Gallery-based Installation Art, And Digital Art, Jihoon Kim Explores Various Theoretical Issues Shaped By The Encounters And Negotiations Between The Different Media That Engage In The Production Of The Impure Moving Images, Such As Duration, Stillness And Movement, Afterlives Of The Celluloid Cinema, Apparatus, Archive, Memory, And Materiality. Grounding Its Study In The Collaborative, Interdisciplinary Framework Of Film Studies, Media Studies, And Contemporary Art Criticism, Between Film, Video, And The Digital Offers A Fresh Insight On The Crucial Roles Of Media Hybridity In The Creative Processes Of Giving Birth To The Emerging Forms Of The Moving Image. Incorporating In-depth Readings Of Recent Works By More Than Forty Artists And Filmmakers, Including Jean-luc Godard, Harun Farocki, Bill Viola, Sam Taylor-wood, David Claerbout, Fiona Tan, James Benning, Sharon Lockhart, Ken Jacobs, Phil Solomon, R. Bruce Elder, Christophe Girardet And Matthias Müller, Takeshi Murata, Douglas Gordon, Stan Douglas, Candace Breitz, Among Others, The Book Is The Essential Scholarly Monograph For Understanding How And Where The Art And Culture Of The Moving Image Came From And Where They Are Going. Machine generated contents note: Table of ContentsEditor's Foreword (Francisco J. Ricardo)AcknowledgmentsList of IllustrationsIntroduction: Hybrid Moving Images and the Post-media ConditionsChapter 1: Videographic Moving Pictures: Remediating the "Film Stilled" and the "Still Film"Chapter 2: Digital Glitch Video and Mixed-media Abstraction: Materialism and Hybrid Abstraction in the Digital AgeChapter 3: Transitional Found Footage Practices: Video In and Out of the Cinematic FragmentsChapter 4: Intermedial Essay Films: "Memories-in-Between" Chapter 5: Cinematic Video Installations: Hybridized Apparatuses inside the Black BoxAfterwordNotesIndex. "A wide-ranging theoretical and aesthetic exploration of hybrid moving images based on the intersection of film, video, and digital technology"-- Provided by publisher