scholarly journals Loving a Disappearing Image

2007 ◽  
Vol 8 (1-2) ◽  
pp. 93-111 ◽  
Author(s):  
Laura U. Marks
Keyword(s):  
Erotic Film ◽  
Experimental Films

ABSTRACTThe author explores how a viewer identifies with a decaying or disintegrating film or videotape, given that cinema is, in effect, dying even as we watch it. She discusses several experimental films and videos that take as their subject the disintegration of film, often erotic film. A psychoanalytic model of melancholia is posited for this identificatory process, but it is found to be unsatisfactory since it is premised on the maintenance of the ego's coherence. Instead a model of devotional melancholia is posited for how one might love a disappearing image.

Mutable Views

2019 ◽  
pp. 52-70
Author(s):  
Johanne Sloan
Keyword(s):  
Visual Culture ◽  
Collective Memory ◽  
Visual Arts ◽  
Visual Art ◽  
Natural World ◽  
Landscape Art ◽  
Experimental Films ◽  
Contemporary Artists

This chapter addresses the contemporary renewal of landscape art in Canada, arising at the intersection of visual art and cinema. Artworks, installations, and experimental films are discussed according to four categories: figure/ground, spatial illusions, the historicity of landscape, and digital scenery. Landscape—as a distinct art historical genre, conventional cinematic background, and ideological ground—has historically played a key role in Canadian visual culture. The contemporary artists and filmmakers in question have remade landscape in pictorial terms by remixing legacies from the visual arts and cinema and also in political terms, by calling attention to the damaged natural world of the Anthropocene, confronting Indigenous claims to the land, and foregrounding struggles over nationhood, identity, and collective memory.

Flicker and Shutter: Exploring Cinema’s Shuddering Shadow

2017 ◽  
Keyword(s):  
19Th Century ◽  
Psychological Problems ◽  
Moving Image ◽  
Image Movement ◽  
Projection Device ◽  
The 1960S ◽  
The 19Th Century ◽  
Experimental Films

A rotating shutter interrupts the light of a projection device, breaking up the succession of image movement and creating the appearance of motion. This technology, essential to cinematic and even some pre-cinematic devices, creates an effect of flicker. In the early era of cinema, the flickering of cinematic images was claimed to damage viewers’ eyesight and even to produce psychological problems. In the 1960s, however, filmmakers such as Peter Kubelka, Tony Conrad and Ken Jacobs explored the flicker as an aesthetic device. This chapter traces the effects of flicker, focusing on the invention of the moving image in the latter part of the 19th century, its initial reception, and the use of flicker in experimental films and projections from the 1960s on.

Conclusion

2020 ◽  
pp. 522-538
Author(s):  
Jonathan Walley
Keyword(s):  
Avant Garde ◽  
Medium Specificity ◽  
Expanded Cinema ◽  
The Aesthetic ◽  
Experimental Films

The conclusion argues that while expanded cinema might seem radically opposed to conventional, popular, and mainstream cinema, it nonetheless attempts to articulate and specify the aesthetic qualities that define all cinema. This parallels a trait of conventionally made avant-garde/experimental films; the assertion of cinema’s nature and essences, which constitute all forms of cinema regardless of how different one kind of film appears from another. The conclusion also draws upon the notions of the “essentially cinematic” explored across the book to counter theoretical arguments against such specificity positions (e.g. medium specificity) that have been advanced by critics and scholars in the worlds of cinema and art. The conclusion argues that these anti-specificity positions are overly simplistic, and that expanded cinema represents a more nuanced and sophisticated notion of what a medium specific theory—or work of cinema—can be.

Kinugasa, Teinosuke (1896–1982)

2018 ◽  
Author(s):  
Kendall Heitzman
Keyword(s):  
Foreign Language ◽  
Film History ◽  
Film Festival ◽  
Financial Success ◽  
Avant Garde ◽  
Film Studios ◽  
Female Roles ◽  
Kawabata Yasunari ◽  
The 1950S ◽  
Experimental Films

Kinugasa Teinosuke (1 January 1896–26 February 1982) was a Japanese actor and film director, most famous for his experimental films of the 1920s and art-house classics of the 1950s. He started as a specialist in oyama female roles, a tradition carried over from Japanese theater to film, and turned to directing as the convention faded in the 1910s and 1920s. After directing films for the major film studios Nikkatsu and Makino, Kinugasa went independent in 1926 with the New Impressionist Film League, his collaboration with members of the New Impressionist School of modernist writers led by Yokomitsu Riichi and Kawabata Yasunari. Kinugasa produced his most famous film, the experimental, avant-garde Kurutta ichipeiji [A Page of Madness] (1926), from a script by Kawabata and others. Despite its secure location in global film history, A Page of Madness was not a financial success, and Kinugasa began working for Shōchiku, at first producing noteworthy films such as Jujiro [Crossroads] (1928) that, while experimental in nature, never again rose to the same level of high-modernist abstraction. Kinugasa had a long career at Shōchiku and then Daiei as a director of period dramas. His films Yukinojo henge [An Actor’s Revenge] (1935) and Jigokumon [Gate of Hell] (1953)—both starring Kinugasa’s frequent collaborator, Hasegawa Kazuo—are representative of his middle and late career. Gate of Hell won a Palme d’Or at the Cannes International Film Festival and received an Academy Honorary Award, the precursor category to Best Foreign Language Film.

Anemic Cinema (1926)

2018 ◽  
Author(s):  
Ryan Robert Mitchell
Keyword(s):  
Experimental Film ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Experimental Films

Considered one of the important experimental films of the prewar European avant-garde, Anemic Cinema (1926) is a short experimental film by Marcel Duchamp, who authored the film under his pseudonym Rrose Sélavy.

The Availability and Use of Experimental Films

1979 ◽  
Vol 1 (4) ◽  
pp. 399-414
Author(s):  
Joseph W. Palmer
Keyword(s):  
Experimental Films

Color as a variable in making an erotic film more arousing

1979 ◽  
Vol 8 (3) ◽  
pp. 263-267 ◽  
Author(s):  
R. W. High ◽  
H. B. Rubin ◽  
Donald Henson
Keyword(s):  
Erotic Film
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