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Doina Rusti, Monica Ilie-Prica, Sergiu Anghel
SUMMARY Sergiu ANGHEL, professor, National University of Drama and Film "I.L. Caragia- le” (UNATC), Bucharest - Editorial: Text and Its Worlds – Texture and Its Lights Alex IORDĂCHESCU, Producer Elephant Film -De l’importance du cinéma en tant qu’outil d’exploration de la conscience Andrei C. ȘERBAN, Ph. D c. „Lucian Blaga” University, Sibiu - La Pianiste ou l’homme-objet. Haneke et Jelinek : entre image et texte Sedat YILDIRIM, Ph. D c. Tallinn University, Estonian Institute of Humanities - Deconstructing The Musical Genre In ‘The Commitments’ (1991) Monica ILIE-PRICA, Ph.Dc., National University of Political Studies and Public Administration, Bucharest - Rediscovering the treasures of the Romanian cine- matographic art of the 1930s through the Cinema magazines. II. Cultural Studies Greek imaginary in contemporary forms Linda Maria BAROS, Linda Maria BAROS, Ph.D, Paris-SorbonneUniversity, - Traductions visuelles du modèle vénusien Diana NECHIT, Ph. D, “Lucian Blaga”University, Sibiu- Théâtralité et ciné- matographicité dans « La Vénus à la fourrure » de Roman Polanski Efstratia OKTAPODA, professor, Université de Paris IV-Sorbonne (France) - Pour une sociologie de la chanson et de la danse.Le théâtre d’ombres de Karaghiozis
European Journal of Arts № 2 2015
Elshad Aliyev
Abstract: The conception and development of information-communication technologies had a strong impact on the sphere of art in XX century. Art experts make attempts to analyze modern tendencies in the development of artistic process dynamic. Over the last years, we had published works in which a lot of attention was paid to the issues of mutual influence and interdependence of technological novices and art. The author considers the peculiarities of impact of Motion Capture technology on the dynamic of development of artistic process in film art.
Art Style Magazine | Volume 1 | Issue 1 | March 2019
2019 •
ewely sandrin
Art Style | Art & Culture International Magazine is an open access, biannual, and peer–reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, litera...
REWIND | Italia, Early Video Art in Italy: I primi anni della videoarte in Italia
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Laura Leuzzi
Viewpoint: REWIND, artists' video in the first decades
2009 •
Stephen Partridge
The Modern Language Review
The Art of Commedia: A Study in the 'Commedia dell'arte', 1560-1620, with Special Reference to the Visual Records
2007 •
Linda Carroll
Edited by Luisella Farinotti, Barbara Grespi and Barbara Le Maître
2015 •
For a long time, comparisons of cinema and photography have been predominantly a question of contrast, both of their forms and their ways of seeing. This special issue of Cinéma&Cie reverses the perspective, by addressing some of the fundamental spaces of convergence and coexistence between the two languages. While they have always been somewhat present in the history of the two arts (not only in chronophotography, but also astronomic photography, photographic series, and still photography), the photocinematic forms have become particularly relevant in the archaeology of post-media culture that has characterised much scholarship lately. What tools should we employ to study these confluences today? Is it possible to perceive overlapping images also in strictly cinematic or photographic works? From this perspective, the special issue deals with borderline authors, such as Jeff Wall; post-filmic aesthetics, such as the cinematic tableau vivant and innovative examples of contemporary, experimental audiovisual production.
Alexandra Nicu, Monica Ilie-Prica
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Stephan Schmidt-Wulffen
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Assembling a Work of Art An Annotated History of Fluxfilm No. 1
2021 •
Hanna B . Hölling
“What is Zen for Film?,” I was asked on the occasion of a preparatory meeting for Revisions, an exhibition to feature Zen for Film (1962–64), Nam June Paik’s “blank” film projection. Despite the many discussions that preceded the meeting, when it came to the question of what the main—and the only—artwork of this exhibition was, we felt as if we’d been left in the dark. Is Zen for Film an idea, a concept— or rather, an event, a performance, or a process? In its original form, Revisions: Zen for Film combined a research project, pedagogy, an exhibition, and an exhibition catalogue. Revised again in the following pages, Revisions is an exercise in slow looking. It questions the ambition of constructing the work with a fixed identity, a product that moves seamlessly from the studio to the world of dissemination, distribution, and display. Instead, Zen for Film will appear once again as an assemblage of people, things, and events, a vibrant materiality destined for a changeable future.
