History of Cinema Without Names/4 Exposing the Moving Image: The Cinematic Medium Across World Fairs, Art Museums and Cultural Exhibitions [Paperback]

Diego Cavallotti (Editor); Simone Dotto (Editor); Andrea Mariani (Editor)

ISBN: 9788869772306 | Published by: Mimesis International | Series: Udine/Gorizia Conference Proceedings | Year of Publication: 2020 | Language: English 516p, H270 x W200 (mm) 140

History of Cinema Without Names/4 Exposing the Moving Image


The XXV FilmForum Cinematic Medium Across World Fairs, Art Museums, and Cultural Exhibitions conference has been devoted to exploring the interrelations between moving images, the cinematic medium and other arts and media as seen through global exhibiting events, such as the Large International Exhibitions, the Universal Expositions and the world fairs throughout the 19th, 20th, and 21st centuries. The general aim has been to shed light on the meaningful interrelations between moving images, media and arts throughout modernity and postmodernity – which means encompassing the pre-cinema, cinema and post-cinema eras, with a specific focus on Universal Expositions. In fact, the Universal Expositions proved to be a crucial and privileged field of excavation and investigation on the emergence as well as on the fluctuant re-configurations of the moving images within the broad media environment of the modern era.

Table of Contents

PART I EXPOS AND UNIVERSAL FAIRS IN CINEMA HISTORY AND HISTORIOGRAPHY - Performing Innovation: Exhibiting Media as Novelty and Spectacle at World Fairs 1893-1904 - Nature vivante et mécanisme artificiel: archéologie d’un mouvement à l’aquarium de l’Expositions universelle de 1867 - The Electricity Fairy, Loïe Fuller’s Serpentine Dance and Cinematic Display in Paris 1900 - Moving Image – Moving Nation: Exhibiting Italy at the International Cinematographic Contest of Turin 1911 World’s Fair - Spain as National Dreamscape: The Interplay of Dioramas and Moving Images in the 1929 Barcelona International Exposition - Watching Films Scientifically: Traces of Cinema at the Museo Nazionale della Scienza e della Tecnica “Leonardo Da Vinci” in Milan - Abstract Moving Images and Expanded Architectures. The 1958 World’s Fair in Brussels and the Philips Pavilion - Montréal’s Expo 67 Within an Expanding Cinema History - The Space Frame and the Architectural Screens in Displacement: Inside Montréal’s Expo 67 from the Past Until Today - Projective Monuments: Moving Images, Architecture and World Fairs - Introduction: Glorious and Permanent Bazaar - L’Amérique à venir sous forme d’utopie: Vachel Lindsay, D.W. Griffith et l’Exposition Internationale Panama-Pacific (1915) - C’est le bazar ! Une autre histoire d’exposition des images indiennes et anglaises - Exposition des non-alignés PART II EXPOSING BODIES AND NATURE. ANTHROPOLOGIES, PHANTASMAGORIES AND ARCHAEOLOGIES OF THE VIEWING DISPOSITIVE - From Screens as Prostheses of Our Body to Our Body as a Quasi-Prosthesis of the Screens? - Wearing the Image in Motion: Tattoos as Cinema Archaeology? - External Perception, Internal Projection. A Skin Eye Disconnection - Reversible Skins and Internal Images: Visibility Issues - Fiction de dispositif. Notre ethnographie : La Jetée (Chris Marker, 1962) et le diorama - Hic falsum index veri. Le cinéma, la fantasmagorie, l’exposition du vrai et du faux (en histoire). - Établir des continuités critiques : Paris 1900, le corps en mouvement et le voyage immobile - Histoire exposée, bonheur de l’humanité. De quelques fantasmagories photo-cinématographiques - Impatience (1928) de Charles Dekeukeleire. Construction et circulation d’un mythe historique - A Screen at the Bottom of the Sea: Public Aquariums in the 19th Century - Marcel Griaule and the Dogon: Masks and Cinema as Twinned Technologies of Mediation in the Musée de l’Homme PART III THE CINEMATIC MUSEUMS: ART, SCIENCE AND CULTURAL HERITAGE ON SCREEN - The Exhibition Space as Cinematic Space: Film as Museum Object - Le Cinéma dans trois expositions patrimoniales françaises - Exposed Auto-Mobility: Self-Driving Cars on Stage - La Ville comme espace d’exposition : notes sur le cinéma exposé et l’architecture - Creating Entangled Histories of Museum Collections: Isaac Julien’s Vagabondia (2002) and Camille Henrot’s Grosse Fatigue (2013) - Exhibiting the Disobedience Archive: Video, Activism and Art - Alternative Screens in Western Avant-Garde Cinematic Practices – A Media Archaeological Approach PART IV EXHIBITING FILM HISTORY TODAY - Visualiser une base de données . travers une carte ? Propositions pour l’exposition numérique TECHNÈS. - Comment le format webdocumentaire permet-il de penser le projet d’Encyclopédie numérique des techniques du cinéma ? - Modalités d’exposition du cinéma d’animation pour une Encyclopédie technique du cinéma en ligne : le cas de l’industrialisation du dessin animé dans les années 1910 - Film History and Contemporary Exhibitions Dreyer on Display: Film Director Exhibits and Historiographical Theory - From Exhibition Cinema to Addendum Cinema: Pere Portabella’s El sopar as a Spanish Case Study - The Role of New Technology in The Marketing and Distribution of Independent Films: Producing a Virtual Reality Trailer for Marie Curie: The Courage of Knowledge (Marie Noelle, 2017)

Product Tags

Use spaces to separate tags. Use single quotes (') for phrases.

Memory usage: real: 24117248, emalloc: 23640784
Code ProfilerTimeCntEmallocRealMem