LEADER 03860nam 2200649 450 001 9910460190503321 005 20200520144314.0 010 $a0-231-85080-8 024 7 $a10.7312/elwe17450 035 $a(CKB)3710000000382601 035 $a(EBL)1922326 035 $a(SSID)ssj0001537825 035 $a(PQKBManifestationID)11953097 035 $a(PQKBTitleCode)TC0001537825 035 $a(PQKBWorkID)11519712 035 $a(PQKB)10977513 035 $a(StDuBDS)EDZ0001143601 035 $a(MiAaPQ)EBC1922326 035 $a(DE-B1597)458315 035 $a(OCoLC)1011438386 035 $a(OCoLC)1013947105 035 $a(OCoLC)979628960 035 $a(DE-B1597)9780231850803 035 $a(Au-PeEL)EBL1922326 035 $a(CaPaEBR)ebr11050049 035 $a(CaONFJC)MIL776837 035 $a(OCoLC)908080415 035 $a(EXLCZ)993710000000382601 100 $a20150509h20152015 uy| 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aInstallation and the moving image /$fCatherine Elwes 210 1$aLondon :$cWallflower Press,$d[2015] 210 4$dİ2015 215 $a1 online resource (323 p.) 300 $aDescription based upon print version of record. 311 $a0-231-17451-9 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tAcknowledgements --$tIntroduction --$tArchitecture --$tPainting --$tSculpture --$tPerformance --$tFilm History --$tFilm as Film --$tStructural Film: Detractions and Revisions --$tThe Dialectics of Spectatorship --$tExpanded Cinema --$tSound --$tVideo Installation --$tClosing Thoughts --$tBibliography --$tIndex 330 $aFilm and video create an illusory world, a reality elsewhere, and a material presence that both dramatizes and demystifies the magic trick of moving pictures. Beginning in the 1960's, artists have explored filmic and televisual phenomena in the controlled environments of galleries and museums, drawing on multiple antecedents in cinema, television, and the visual arts. This volume traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960's, 1970's, and 1980's.Sound is given due attention, along with the shift from analogue to digital, issues of spectatorship, and the insights of cognitive science. Woven into this genealogy is a discussion of the procedural, political, theoretical, and ideological positions espoused by artists from the mid-twentieth century to the present. Historical constructs such as Peter Gidal's structural materialism, Maya Deren's notion of vertical and horizontal time, and identity politics are reconsidered in a contemporary context and intersect with more recent thinking on representation, subjectivity, and installation art. The book is written by a critic, curator, and practitioner who was a pioneer of British video and feminist art politics in the late 1970's. Elwes writes engagingly of her encounters with works by Anthony McCall, Gillian Wearing, David Hall, and Janet Cardiff, and her narrative is informed by exchanges with other practitioners. While the book addresses the key formal, theoretical, and historical parameters of moving-image installation, it ends with a question: "What's in it for the artist?" 606 $aFilm installations (Art) 606 $aInstallations (Art) 608 $aElectronic books. 615 0$aFilm installations (Art) 615 0$aInstallations (Art) 676 $a709.04 700 $aElwes$b Catherine$01056870 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910460190503321 996 $aInstallation and the moving image$92491551 997 $aUNINA