105 Résultats
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Titre:
Jonas Mekas: Images are real
Jonas Mekas: Images are real
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Through a wide selection of works from the 1960s to the late 2010s, this catalogue aims to read the Lithuanian filmmaker's work as a Dantesque journey leading to happiness, from the infernos of history, through a daily exercise in filmmaking. The title is a quote taken from the film ''Out-takes From the Life of a Happy Man'', in which the artist's voice-over reflects to(...)
$40.00
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Through a wide selection of works from the 1960s to the late 2010s, this catalogue aims to read the Lithuanian filmmaker's work as a Dantesque journey leading to happiness, from the infernos of history, through a daily exercise in filmmaking. The title is a quote taken from the film ''Out-takes From the Life of a Happy Man'', in which the artist's voice-over reflects to(...)
Publication:
avril 2023
avril 2023
Titre:
Jonas Mekas: Images are real
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$40.00
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Résumé:
Through a wide selection of works from the 1960s to the late 2010s, this catalogue aims to read the Lithuanian filmmaker's work as a Dantesque journey leading to happiness, from the infernos of history, through a daily exercise in filmmaking. The title is a quote taken from the film ''Out-takes From the Life of a Happy Man'', in which the artist's voice-over reflects to himself, ''Memories are past, but images are here, and images are real!'' Completing the volume are a collection of texts by Francesco Urbano Ragazzi, Hollis Melton, P. Adams Sitney, Ieva Jasinskaite, and Philipp Scheid.
Jonas Mekas: Images are real
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Through a wide selection of works from the 1960s to the late 2010s, this catalogue aims to read the Lithuanian filmmaker's work as a Dantesque journey leading to happiness, from the infernos of history, through a daily exercise in filmmaking. The title is a quote taken from the film ''Out-takes From the Life of a Happy Man'', in which the artist's voice-over reflects to himself, ''Memories are past, but images are here, and images are real!'' Completing the volume are a collection of texts by Francesco Urbano Ragazzi, Hollis Melton, P. Adams Sitney, Ieva Jasinskaite, and Philipp Scheid.
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livres
Publication:
avril 2023
avril 2023
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In this illuminating and provocative survey, Stephen Barber examines the historical relationship between film and the urban landscape. "Projected cities" looks with particular focus at the cinema of Europe and Japan, two closely linked cinematic cultures which have been foremost in the use of urban imagery, to reveal elements of culture, architecture and history. By(...)
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In this illuminating and provocative survey, Stephen Barber examines the historical relationship between film and the urban landscape. "Projected cities" looks with particular focus at the cinema of Europe and Japan, two closely linked cinematic cultures which have been foremost in the use of urban imagery, to reveal elements of culture, architecture and history. By(...)
Publication:
novembre 2002, London
novembre 2002, London
Titre:
Projected cities: cinema and urban space
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In this illuminating and provocative survey, Stephen Barber examines the historical relationship between film and the urban landscape. "Projected cities" looks with particular focus at the cinema of Europe and Japan, two closely linked cinematic cultures which have been foremost in the use of urban imagery, to reveal elements of culture, architecture and history. By examining this imagery, especially at moments of turmoil and experimentation, the author reveals how cinema has used images of cities to influence our perception of everything from history to the human body, and how cinematic images of cities have been fundamental to the ways in which the city has been imagined, formulated and remembered. The book goes on to assess the impact of media culture on the status of film and cinema spaces, and concludes by considering digital renderings of the modern city.
Projected cities: cinema and urban space
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In this illuminating and provocative survey, Stephen Barber examines the historical relationship between film and the urban landscape. "Projected cities" looks with particular focus at the cinema of Europe and Japan, two closely linked cinematic cultures which have been foremost in the use of urban imagery, to reveal elements of culture, architecture and history. By examining this imagery, especially at moments of turmoil and experimentation, the author reveals how cinema has used images of cities to influence our perception of everything from history to the human body, and how cinematic images of cities have been fundamental to the ways in which the city has been imagined, formulated and remembered. The book goes on to assess the impact of media culture on the status of film and cinema spaces, and concludes by considering digital renderings of the modern city.
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livres
Publication:
novembre 2002, London
novembre 2002, London
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Although a few among us are intrepid architectural tourists, visiting buildings and landscapes our cameras at the ready, most of us experience architecture through the windshield of a moving vehicle, the architectural experience reduced to a blurry and momentary drive-by. And the rest of our architectural "tourism" is through the images of cameras, movies, and television(...)
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Although a few among us are intrepid architectural tourists, visiting buildings and landscapes our cameras at the ready, most of us experience architecture through the windshield of a moving vehicle, the architectural experience reduced to a blurry and momentary drive-by. And the rest of our architectural "tourism" is through the images of cameras, movies, and television(...)
Publication:
mai 2004, New York
mai 2004, New York
Titre:
Zoomscape : architecture and motion in media
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Although a few among us are intrepid architectural tourists, visiting buildings and landscapes our cameras at the ready, most of us experience architecture through the windshield of a moving vehicle, the architectural experience reduced to a blurry and momentary drive-by. And the rest of our architectural "tourism" is through the images of cameras, movies, and television programs—that is, through the lens of another's eye. Architectural historian Mitchell Schwarzer calls this new mediated architectural experience the "zoomscape." In this thought-provoking book, he argues that the perception of architecture has been fundamentally altered by the technologies of transportation and the camera - we now look at buildings, neighborhoods, cities, and even entire continents as we ride in trains, cars, and planes, and/or as we view photographs, movies, and television. "Zoomscape" shows how we now perceive buildings and places at high speeds, across great distances, through edited and multiple reproductions. Nowadays, our views of the architectural landscape are modulated by the accelerator pedal and the remote control, by studio production techniques and airplane flight paths. Using examples from high art and popular culture - from the novels of Don DeLillo to the opening credits of "The Sopranos" - Mitchell Schwarzer shows that the zoomscape has brought about unprecedented and often marvelous new ways of perceiving the built environment.
Zoomscape : architecture and motion in media
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Although a few among us are intrepid architectural tourists, visiting buildings and landscapes our cameras at the ready, most of us experience architecture through the windshield of a moving vehicle, the architectural experience reduced to a blurry and momentary drive-by. And the rest of our architectural "tourism" is through the images of cameras, movies, and television programs—that is, through the lens of another's eye. Architectural historian Mitchell Schwarzer calls this new mediated architectural experience the "zoomscape." In this thought-provoking book, he argues that the perception of architecture has been fundamentally altered by the technologies of transportation and the camera - we now look at buildings, neighborhoods, cities, and even entire continents as we ride in trains, cars, and planes, and/or as we view photographs, movies, and television. "Zoomscape" shows how we now perceive buildings and places at high speeds, across great distances, through edited and multiple reproductions. Nowadays, our views of the architectural landscape are modulated by the accelerator pedal and the remote control, by studio production techniques and airplane flight paths. Using examples from high art and popular culture - from the novels of Don DeLillo to the opening credits of "The Sopranos" - Mitchell Schwarzer shows that the zoomscape has brought about unprecedented and often marvelous new ways of perceiving the built environment.
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livres
livres
Publication:
mai 2004, New York
mai 2004, New York
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livres
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Dark Places" explores the dim, claustrophobic interiors of haunted houses in horror movies, as well as the cinema auditorium itself, and their relation to the 'dark places' of the human pysche. Barry Curtis looks at the long, blood-soaked history of horror films: their fascination with re-animating the dead; the special effects, both sophisticated and crude, which have(...)
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Dark Places" explores the dim, claustrophobic interiors of haunted houses in horror movies, as well as the cinema auditorium itself, and their relation to the 'dark places' of the human pysche. Barry Curtis looks at the long, blood-soaked history of horror films: their fascination with re-animating the dead; the special effects, both sophisticated and crude, which have(...)
Titre:
Dark places: the haunted house in film
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Dark Places" explores the dim, claustrophobic interiors of haunted houses in horror movies, as well as the cinema auditorium itself, and their relation to the 'dark places' of the human pysche. Barry Curtis looks at the long, blood-soaked history of horror films: their fascination with re-animating the dead; the special effects, both sophisticated and crude, which have been contrived in order to bring spirits into the realm of the living; the structures, projections and architecture of horror movie sets; and the complex metaphorical life of 'ghosts' as harbingers of loss, amnesia, injustice and vengeance. A wide range of films is also discussed in which the 'haunted house' is reworked in new scenarios - the road, the apartment, the motel, the spaceship - and visually linked to the troubling archetypes of Gothic fictions. Barry Curtis is Emeritus Professor of Visual Culture at Middlesex University, Fellow of the London Consortium, and Visiting Tutor at the Royal College of Art. He has written widely on film, architecture, art and visual culture for magazines, newspapers and journals.
Dark places: the haunted house in film
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Dark Places" explores the dim, claustrophobic interiors of haunted houses in horror movies, as well as the cinema auditorium itself, and their relation to the 'dark places' of the human pysche. Barry Curtis looks at the long, blood-soaked history of horror films: their fascination with re-animating the dead; the special effects, both sophisticated and crude, which have been contrived in order to bring spirits into the realm of the living; the structures, projections and architecture of horror movie sets; and the complex metaphorical life of 'ghosts' as harbingers of loss, amnesia, injustice and vengeance. A wide range of films is also discussed in which the 'haunted house' is reworked in new scenarios - the road, the apartment, the motel, the spaceship - and visually linked to the troubling archetypes of Gothic fictions. Barry Curtis is Emeritus Professor of Visual Culture at Middlesex University, Fellow of the London Consortium, and Visiting Tutor at the Royal College of Art. He has written widely on film, architecture, art and visual culture for magazines, newspapers and journals.
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livres
livres
Publication:
janvier 2009, London
janvier 2009, London
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livres
livres
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$36.95
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Whether tall office buildings, high-rise apartments, or lofty hotels, skyscrapers have been stars in American cinema since the silent era. Cinema’s tall buildings have been variously represented as unbridled aspiration, dens of iniquity and eroticism, beacons of democracy, and well-oiled corporate machines. Considering their intriguing diversity, Merrill Schleier(...)
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Whether tall office buildings, high-rise apartments, or lofty hotels, skyscrapers have been stars in American cinema since the silent era. Cinema’s tall buildings have been variously represented as unbridled aspiration, dens of iniquity and eroticism, beacons of democracy, and well-oiled corporate machines. Considering their intriguing diversity, Merrill Schleier(...)
Publication:
janvier 2009, Minneapolis, London
janvier 2009, Minneapolis, London
Titre:
Skyscraper cinema : architecture and gender in American film
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Whether tall office buildings, high-rise apartments, or lofty hotels, skyscrapers have been stars in American cinema since the silent era. Cinema’s tall buildings have been variously represented as unbridled aspiration, dens of iniquity and eroticism, beacons of democracy, and well-oiled corporate machines. Considering their intriguing diversity, Merrill Schleier establishes and explains the impact of actual skyscrapers on America’s ideologies about work, leisure, romance, sexual identity, and politics as seen in Hollywood movies.
Skyscraper cinema : architecture and gender in American film
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Whether tall office buildings, high-rise apartments, or lofty hotels, skyscrapers have been stars in American cinema since the silent era. Cinema’s tall buildings have been variously represented as unbridled aspiration, dens of iniquity and eroticism, beacons of democracy, and well-oiled corporate machines. Considering their intriguing diversity, Merrill Schleier establishes and explains the impact of actual skyscrapers on America’s ideologies about work, leisure, romance, sexual identity, and politics as seen in Hollywood movies.
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livres
livres
Publication:
janvier 2009, Minneapolis, London
janvier 2009, Minneapolis, London
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$49.95
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Cet essai explore une facette de Hans Hartung (1904-1989) d'apparence improbable : les liens de ce géant de la peinture abstraite avec le cinéma. Il n'existe aucun film de Hartung, ni d'inclination réelle de sa part pour le septième art. Mais une enquête au cœur d'innombrables archives jusqu'alors inédites révèle des réseaux insoupçonnés : ce sont, entre autres, des(...)
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Cet essai explore une facette de Hans Hartung (1904-1989) d'apparence improbable : les liens de ce géant de la peinture abstraite avec le cinéma. Il n'existe aucun film de Hartung, ni d'inclination réelle de sa part pour le septième art. Mais une enquête au cœur d'innombrables archives jusqu'alors inédites révèle des réseaux insoupçonnés : ce sont, entre autres, des(...)
Titre:
Hartung Nouvelle Vague : De Resnais vers Rohmer
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Cet essai explore une facette de Hans Hartung (1904-1989) d'apparence improbable : les liens de ce géant de la peinture abstraite avec le cinéma. Il n'existe aucun film de Hartung, ni d'inclination réelle de sa part pour le septième art. Mais une enquête au cœur d'innombrables archives jusqu'alors inédites révèle des réseaux insoupçonnés : ce sont, entre autres, des réalisateurs comme Alain Resnais, Henri-Georges Clouzot, Jean-Luc Godard, Éric Rohmer, plus récemment Larry Clark, qui ont admiré l'homme et sa peinture. Sa vie de héros antinazi, ex-légionnaire amputé au genou, traversé d'expériences cauchemardesques, mais déterminé à peindre ses « taches », passionnait. Qu'il ait été parodié, glorifié dans des décors de film, ou qu'il ait nourri des rôles campés par Anthony Perkins comme Maurice Ronet, Hartung est un fascinant point aveugle du cinéma.
Hartung Nouvelle Vague : De Resnais vers Rohmer
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Cet essai explore une facette de Hans Hartung (1904-1989) d'apparence improbable : les liens de ce géant de la peinture abstraite avec le cinéma. Il n'existe aucun film de Hartung, ni d'inclination réelle de sa part pour le septième art. Mais une enquête au cœur d'innombrables archives jusqu'alors inédites révèle des réseaux insoupçonnés : ce sont, entre autres, des réalisateurs comme Alain Resnais, Henri-Georges Clouzot, Jean-Luc Godard, Éric Rohmer, plus récemment Larry Clark, qui ont admiré l'homme et sa peinture. Sa vie de héros antinazi, ex-légionnaire amputé au genou, traversé d'expériences cauchemardesques, mais déterminé à peindre ses « taches », passionnait. Qu'il ait été parodié, glorifié dans des décors de film, ou qu'il ait nourri des rôles campés par Anthony Perkins comme Maurice Ronet, Hartung est un fascinant point aveugle du cinéma.
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livres
livres
Publication:
octobre 2019
octobre 2019
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livres
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The experience of architectural spaces is formed by the way they are staged. The Drama of Space examines the composition and articulation of architectural spaces in terms of spatial dramaturgy, as a repertoire of means and strategies for shaping spatial experience. This fundamental approach to architectural design is presented in four parts: Archetypal principles of(...)
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The experience of architectural spaces is formed by the way they are staged. The Drama of Space examines the composition and articulation of architectural spaces in terms of spatial dramaturgy, as a repertoire of means and strategies for shaping spatial experience. This fundamental approach to architectural design is presented in four parts: Archetypal principles of(...)
Titre:
The drama of space: spatial sequences and compositions in architecture
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The experience of architectural spaces is formed by the way they are staged. The Drama of Space examines the composition and articulation of architectural spaces in terms of spatial dramaturgy, as a repertoire of means and strategies for shaping spatial experience. This fundamental approach to architectural design is presented in four parts: Archetypal principles of spatial composition are traced from the study of three assembly buildings of the early modern period in Venice. Theatre, film, music, and theory provide background knowledge on dramaturgy. Detailed analyses of 18 international case studies offer new perspectives on contemporary architecture. The book ends with a systematic presentation of the dramaturgy of space, its parameters and tools, in architectural design.
The drama of space: spatial sequences and compositions in architecture
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The experience of architectural spaces is formed by the way they are staged. The Drama of Space examines the composition and articulation of architectural spaces in terms of spatial dramaturgy, as a repertoire of means and strategies for shaping spatial experience. This fundamental approach to architectural design is presented in four parts: Archetypal principles of spatial composition are traced from the study of three assembly buildings of the early modern period in Venice. Theatre, film, music, and theory provide background knowledge on dramaturgy. Detailed analyses of 18 international case studies offer new perspectives on contemporary architecture. The book ends with a systematic presentation of the dramaturgy of space, its parameters and tools, in architectural design.
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livres
livres
Publication:
novembre 2017
novembre 2017
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livres
livres
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$64.95
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The publication is the first comprehensive study of Baruchello’s relationship with the moving image from the sixties on. Produced on the occasion of the exhibition "Gianfranco Baruchello: Cold Cinema". "Film, video e opere 1960-1999", held at La Triennale di Milano in 2014 and 2015, the book opens with a densely packed montage of Baruchello’s own notes, images, and(...)
$64.95
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The publication is the first comprehensive study of Baruchello’s relationship with the moving image from the sixties on. Produced on the occasion of the exhibition "Gianfranco Baruchello: Cold Cinema". "Film, video e opere 1960-1999", held at La Triennale di Milano in 2014 and 2015, the book opens with a densely packed montage of Baruchello’s own notes, images, and(...)
Publication:
avril 2018
avril 2018
Titre:
Gianfranco Baruchello : archive of moving images, 1960-2016
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$64.95
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The publication is the first comprehensive study of Baruchello’s relationship with the moving image from the sixties on. Produced on the occasion of the exhibition "Gianfranco Baruchello: Cold Cinema". "Film, video e opere 1960-1999", held at La Triennale di Milano in 2014 and 2015, the book opens with a densely packed montage of Baruchello’s own notes, images, and documents, presented by means of a medium dear to the artist, photocopies. An essay by Alessandro Rabottini takes us through the rooms of the exhibition at La Triennale di Milano, while a conversation between Baruchello and Massimiliano Gioni highlights some key aspects of his ideas about cinema. Carla Subrizi’s text winds its way through his entire production of films and videos, whereas an essay by Philippe-Alain Michaud examines some of the historical roots of Verifica incerta (1964-65).
Gianfranco Baruchello : archive of moving images, 1960-2016
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The publication is the first comprehensive study of Baruchello’s relationship with the moving image from the sixties on. Produced on the occasion of the exhibition "Gianfranco Baruchello: Cold Cinema". "Film, video e opere 1960-1999", held at La Triennale di Milano in 2014 and 2015, the book opens with a densely packed montage of Baruchello’s own notes, images, and documents, presented by means of a medium dear to the artist, photocopies. An essay by Alessandro Rabottini takes us through the rooms of the exhibition at La Triennale di Milano, while a conversation between Baruchello and Massimiliano Gioni highlights some key aspects of his ideas about cinema. Carla Subrizi’s text winds its way through his entire production of films and videos, whereas an essay by Philippe-Alain Michaud examines some of the historical roots of Verifica incerta (1964-65).
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livres
livres
Publication:
avril 2018
avril 2018
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livres
livres
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$29.99
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Broadway avenue in downtown Los Angeles holds an extraordinary collection of twelve once-luxurious and now abandoned film-palaces, built between 1910 and 1931. In most cities worldwide, such a concentration of cinemas would have been demolished long ago - here however the buildings have survived the end of film-projection intact, some of their interiors ruined and gutted,(...)
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Résumé:
Broadway avenue in downtown Los Angeles holds an extraordinary collection of twelve once-luxurious and now abandoned film-palaces, built between 1910 and 1931. In most cities worldwide, such a concentration of cinemas would have been demolished long ago - here however the buildings have survived the end of film-projection intact, some of their interiors ruined and gutted,(...)
Titre:
Abandoned images: film and film's end
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Broadway avenue in downtown Los Angeles holds an extraordinary collection of twelve once-luxurious and now abandoned film-palaces, built between 1910 and 1931. In most cities worldwide, such a concentration of cinemas would have been demolished long ago - here however the buildings have survived the end of film-projection intact, some of their interiors ruined and gutted, others transformed and re-used as churches, nightclubs and storage spaces. Stephen Barber begins with an exploration of these remarkable derelicts, and broadens to ask questions about the abandonment of film itself.
Abandoned images: film and film's end
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Broadway avenue in downtown Los Angeles holds an extraordinary collection of twelve once-luxurious and now abandoned film-palaces, built between 1910 and 1931. In most cities worldwide, such a concentration of cinemas would have been demolished long ago - here however the buildings have survived the end of film-projection intact, some of their interiors ruined and gutted, others transformed and re-used as churches, nightclubs and storage spaces. Stephen Barber begins with an exploration of these remarkable derelicts, and broadens to ask questions about the abandonment of film itself.
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livres
livres
Publication:
février 2010
février 2010
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livres
livres
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Berlin's history of conflict, violence, and transformation has created an arena of particular urban surfaces, from which the present-day city and its layered, wounded past are projected simultaneously. In this publication, cultural historian Stephen Barber explores the intimate connections between those surfaces and the works of art and film that have both incised(...)
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Berlin's history of conflict, violence, and transformation has created an arena of particular urban surfaces, from which the present-day city and its layered, wounded past are projected simultaneously. In this publication, cultural historian Stephen Barber explores the intimate connections between those surfaces and the works of art and film that have both incised(...)
Titre:
The walls of Berlin: urban surfaces, art, film
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Berlin's history of conflict, violence, and transformation has created an arena of particular urban surfaces, from which the present-day city and its layered, wounded past are projected simultaneously. In this publication, cultural historian Stephen Barber explores the intimate connections between those surfaces and the works of art and film that have both incised Berlin's urban screens and been inspired by them. Drawing on a vast range of material - from the first films of Berlin in the 1890s to the city's place in contemporary digital art - this book takes the form of a series of image-propelled journeys across the face of Berlin and through its urban histories, excavating the ricochets among the city, art, and film. In Barber's hands, Berlin's walls become apertures that mediate the city's preoccupations and manias, damage and scars, strata and outgrowths, sexual obsessions, and urban vanishings. The Walls of Berlin is a cultural history of the city's memories-as well as its acts of forgetting-that illuminates overlooked spaces and the sensory presences that inhabit them.
The walls of Berlin: urban surfaces, art, film
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Berlin's history of conflict, violence, and transformation has created an arena of particular urban surfaces, from which the present-day city and its layered, wounded past are projected simultaneously. In this publication, cultural historian Stephen Barber explores the intimate connections between those surfaces and the works of art and film that have both incised Berlin's urban screens and been inspired by them. Drawing on a vast range of material - from the first films of Berlin in the 1890s to the city's place in contemporary digital art - this book takes the form of a series of image-propelled journeys across the face of Berlin and through its urban histories, excavating the ricochets among the city, art, and film. In Barber's hands, Berlin's walls become apertures that mediate the city's preoccupations and manias, damage and scars, strata and outgrowths, sexual obsessions, and urban vanishings. The Walls of Berlin is a cultural history of the city's memories-as well as its acts of forgetting-that illuminates overlooked spaces and the sensory presences that inhabit them.
Classification:
livres
livres
Publication:
juin 2011
juin 2011
