Intro -- Cinematic Intermediality -- Copyright -- Contents -- Figures -- Acknowledgements -- The Contributors -- Introduction -- Part 1 Mapping the Interzone -- 1 Film and Performance: Intermedial Intersections -- 2 Carving Cameras: Antonioni's Lo Sguardo di Michelangelo (2004) -- 3 The Photo-filmic and the Post-human: Picturesque Landscapes at the Peripheries of Global Cinema -- 4 Dream Screen: On Cinema and Painting, Blur and Absorption -- Part 2 The Intermedial Avant-gardes -- 5 From the Periphery to the Interstices: Avant-garde Film, Medium Specificity and Intermediality, 1970-2015 -- 6 The 'Artist as Filmmaker': Modernisms, Schisms, Misunderstandings -- 7 The Artwork/Statement as Intermedial Nexus: Paul Sharits's N:O:T:H:I:N:G -- Part 3 Technology, Apparatus, Affect -- 8 Intermediality and the Origins of Cinema -- 9 Cinematography's Blind Spots: Artistic Exploitations of the Film Frame -- 10 Filming and Feeling between the Arts: Pascale Breton, Suite armoricaine, and Eugène Green, Le Fis de Joseph -- Part 4 Intermedial Creation -- 11 What Does a Dance Filmmaker See? -- 12 Performance, Moving Image, Installation: The Making of Body of War and Faith -- 13 Muybridge's Disobedient Horses: Non-stop Stop-motion -- 14 A Dialogue with Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror -- Index. |