[ePub] Alexandre Cabanel: Paintings and Drawings by Josh Parker in Arts-Photography

Description

Conducting the first comprehensive study of films that do not move; Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhols Empire (1964); the Fluxus work Disappearing Music for Face (1965); Michael Snows So Is This (1982); and Derek Jarmans Blue (1993); he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema; photography; painting; and literature.Analyzing four categories of static film--furniture films; designed to be viewed partially or distractedly; protracted films; which use extremely slow motion to impress stasis; textual films; which foreground the static display of letters and written words; and monochrome films; which display a field of monochrome color as their image--Remes maps the interrelations between movement; stillness; and duration and their complication of cinemas conventional function and effects. Arguing all films unfold in time; he suggests duration is more fundamental to cinema than motion; initiating fresh inquiries into films manipulation of temporality; from rigidly structured works to those with more ambiguous and open-ended frameworks. Remess discussion integrates the writings of Roland Barthes; Gilles Deleuze; Tom Gunning; Rudolf Arnheim; Raymond Bellour; and Noel Carroll and will appeal to students of film theory; experimental cinema; intermedia studies; and aesthetics.