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Books on the topic 'Art Cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 March 2023

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1

Husain, Maqbul Fida. Art & cinema. Archer, 1997.

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2

Marianne, Thys, and Cinémathèque royale de Belgique, eds. Belgian cinema =: Le cinéma belge. Ludion, 1999.

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3

Lykidis, Alex. Art Cinema and Neoliberalism. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61006-7.

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4

Ponder, Justin. Art Cinema and Theology. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58556-7.

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5

Cocteau, Jean. The art of cinema. Marion Boyars, 1999.

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6

Cocteau, Jean. The art of cinema. Marion Boyars, 1992.

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7

Cocteau, Jean. The art of cinema. Marion Boyars, 2001.

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8

Guy, Phelps, ed. The cinema as art. Penguin, 1989.

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9

1965-, Russell Dominique, ed. Rape in art cinema. Continuum, 2010.

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10

Fèlix, Fanés, ed. Cinema, art i pensament. Ajuntament de Girona, 1999.

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11

Rape in art cinema. Continuum, 2010.

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12

Schmalisch, Romana. Mobile cinema. Archive Books, 2017.

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13

Trifonova, Temenuga. Screening the Art World. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724852.

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Unlike most studies of the relationship between cinema and art, which privilege questions of medium or institutional specificity and intermediality, Screening the Art World explores the ways in which artists and the art world more generally have been represented in cinema. Contributors address a rarely explored subject -art in cinema, rather than the art of cinema - by considering films across genres, historical periods and national cinemas in order to reflect on cinema’s fluctuating imaginary of ‘art’ and ‘the art world’. The book examines the intersection of art history with history in cinema, cinema’s simultaneous affirmation and denigration of the idea of art as ‘truth’ and what this means for cinema’s understanding of itself, the dominant, often contradictory ways in which artists have been represented on screen, and cinematic representations of the art world’s tenuous position between commercial good and cultural capital.
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14

Chateau, Dominique. Post-cinema: Cinema in the Post-art Era. Amsterdam University Press, 2020.

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15

Expanded cinema: Art, performance, film. Tate Gallery Pub., 2011.

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16

Prakosa, Gotot. Kamera subyektif rekaman perjalanan: Dari cinema ngamen ke art cinema. Dewan Kesenian Jakarta dan Yayasan Seni Visual Indonesia, 2006.

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17

Palazzo del Governatore (Parma, Italy) and Università di Parma. Centro studi e archivio della comunicazione, eds. Luce: Scienza, cinema, arte. MUP, 2015.

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18

Yang, Li. The Formation of Chinese Art Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97211-4.

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19

The ABC series : art, book, cinema. Osian's--Connoisseurs of Art Private Ltd., 2008.

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20

Simon, Dwyer, ed. Rapid eye: Art, occult, cinema, music. Rapid Eye, 1989.

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21

Dan, Georgakas, and Rubenstein Lenny, eds. Art, politics, cinema: The Cineaste interviews. Pluto Press, 1985.

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22

1951-, Rieser Martin, Zapp Andrea, British Film Institute, and Zentrum für Kunst und Medientechnologie Karlsruhe, eds. New screen media: Cinema/art/narrative. British Film Institute, 2002.

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23

Nilsen, Vladimir. The cinema as a graphic art. Garland Pub., 1985.

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24

Art Cinema. Taschen Benedikt Verlag Gmbh., 2009.

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25

art & cinema. galerie guislain,etats d'art, 2008.

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26

White, John. European Art Cinema. Routledge, 2016. http://dx.doi.org/10.4324/9781315737898.

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27

King, Geoff. Positioning Art Cinema. I.B.Tauris & Co. Ltd, 2019. http://dx.doi.org/10.5040/9781788318945.

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28

Newland, Paul, and Brain Hoyle, eds. British art cinema. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526133137.

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29

European Art Cinema. Taylor & Francis Group, 2016.

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30

John, White. European Art Cinema. Taylor & Francis Group, 2016.

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31

John, White. European Art Cinema. Taylor & Francis Group, 2016.

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32

John, White. European Art Cinema. Taylor & Francis Group, 2016.

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33

Art cinema revisited. Department of Cinema Studies, Stockholm University, 2000.

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34

Nilsen, Vladimer. Cinema As a Graphic Art (Cinema classics). Taylor & Francis, 1985.

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35

Lykidis, Alex. Art Cinema and Neoliberalism. Springer International Publishing AG, 2021.

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36

Hobbs, Simon. Cultivating Extreme Art Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427371.001.0001.

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The use of hard-core sex and brutal violence in films such as Antichrist, Romance and Irreversible has been branded by many as an unsophisticated attempt to attract audiences. These accusations of gimmickry have been directed towards a range of extreme art films, however they have rarely been explored in detail. This book therefore seeks to investigate the validity of these claims by considering the extent to which these often infamous sequences of extremity inform the commercial identity of the film. Through close textual analysis of various paratexts, the book examines how sleeve designs, blurbs, and special features manage these extreme reputations, and the extent to which they exploit the supposed value of extremity. The book positions the tangible home video product as a bearer of meaning, capable of defining the public persona of the film. The book explores the ways home video artefacts communicate to both highbrow and lowbrow audiences by drawing from contradicting marketing traditions, as well as examining the means through which they breach long-standing taste distinctions. Including case studies from both art cinema and exploitation cinema – such as Cannibal Holocaust, Salò, Or the 120 Days of Sodom, Weekend and Antichrist – the book explores the complicated dichotomies between these cinematic traditions, offering a fluid history of extreme art cinema while challenging existing accounts of the field. Ultimately, the book argues that extremity – far from being a simple marketing tool – is a complex and multifaceted commercial symbol.
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37

Russell, Dominique, ed. Rape in Art Cinema. The Continuum International Publishing Group Inc, 2010. http://dx.doi.org/10.5040/9781628928921.

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38

Hobbs, Simon. Cultivating Extreme Art Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.1515/9781474427395.

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39

1965-, Russell Dominique, ed. Rape in art cinema. Continuum, 2010.

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40

SAVOLDELLIE, Reto Andrea. Future Art of Cinema. Temple Lodge Publishing, 2020.

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41

Brissette, Pamela. The Art of Cinema. Erudition Books, 2001.

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42

Rape in Art Cinema. Bloomsbury Publishing Plc, 2011.

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43

Lykidis, Alex. Art Cinema and Neoliberalism. Springer International Publishing AG, 2022.

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44

Morrison, Benedict. Complicating Articulation in Art Cinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894069.001.0001.

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Complicating Articulation in Art Cinema argues that art cinema, unlike classical film, draws attention to its disjointed, multi-parted form, but that criticism has too frequently sought to explain this complexity away by stitching the parts together in totalizing readings. This stitching together has often relied on the assumption that complicated character explains articulated form and that the solution to art cinema’s puzzles lies in interpreting each film as the expression of a focalizing character’s internal disturbance. This book challenges this assumption. It argues that the attempt to explain formal complexity through this character-centric approach reduces formal achievements and enigmatic characters to inadequate approximations of one another. Reference to character cannot fully tame unschematic and unpredictable combinations of—and collisions between—contradictory levels of narration, clashing styles, discontinuously edited shots, jarring allusions, dislocated genre signifiers, and intermedial elements. Through close analyses of films by Roberto Rossellini, Robert Bresson, Luis Buñuel, Terence Davies, Peter Greenaway, and Kelly Reichardt, Complicating Articulation in Art Cinema offers an ethics of criticism that suggests that the politics of art cinema’s eccentric form are limited by character-centred readings. Each of the featured films presents inarticulate or muted characters, whose emotional and intellectual lives are unknowable, further complicating the relationship between character and form. This book argues that, by acknowledging this resistance to interpretation, critics can think in new ways about art cinema’s interrogation of the possibilities of knowledge.
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45

Chateau, Dominique, and José Moure. Post-Cinema: Cinema in the Post-Art Era. Amsterdam University Press, 2020.

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46

Post-Cinema: Cinema in the Post-Art Erhb. Amsterdam University Press, 2020.

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47

Trifonova, Temenuga, ed. Screening the Art World. Amsterdam University Press, 2022. http://dx.doi.org/10.1017/9789048553662.

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Unlike most studies of the relationship between cinema and art, which privilege questions of medium or institutional specificity and intermediality, <i>Screening the Art World</i> explores the ways in which artists and the art world more generally have been represented in cinema. Contributors address a rarely explored subject - art in cinema, rather than the art of cinema - by considering films across genres, historical periods and national cinemas in order to reflect on cinema’s fluctuating imaginary of ‘art’ and ‘the art world’. The book examines the intersection of art history with history in cinema, cinema’s simultaneous affirmation and denigration of the idea of art as ‘truth’ and what this means for cinema’s understanding of itself, the dominant, often contradictory ways in which artists have been represented on screen, and cinematic representations of the art world’s tenuous position between commercial good and cultural capital.
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48

(Editor), Michele Emmer, and Mirella Manaresi (Editor), eds. Mathematics, Art, Technology and Cinema. Springer, 2003.

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49

Hamilton, Donna, Herman Van Eyken, and Nico Meissner. Showcase Cinema: Malaysia. Griffith University, 2016.

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50

Landberg, Topiary. Canyon Cinema Discovered. Canyon Cinema Foundation, 2022.

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