Table of Contents Editor’s Foreword (Francisco J. Ricardo) Acknowledgments List of Illustrations Introduction: Hybrid Moving Images and the Post-media Conditions Chapter 1: Videographic Moving Pictures: Remediating the “Film Stilled” and the “Still Film” Chapter 2: Digital Glitch Video and Mixed-media Abstraction: Materialism and Hybrid Abstraction in the Digital Age Chapter 3: Transitional Found Footage Practices: Video In and Out of the Cinematic Fragments Chapter 4: Intermedial Essay Films: “Memories-in-Between” Chapter 5: Cinematic Video Installations: Hybridized Apparatuses inside the Black Box Afterword Notes Index
A wide-ranging theoretical and aesthetic exploration of hybrid moving images based on the intersection of film, video, and digital technology
Jihoon Kim is Assistant Professor in the Department of Film Studies at Chung-ang University, South Korea, after teaching in the Division of Broadcast and Cinema Studies at Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore. His essays have appeared in Screen, Film Quarterly, Animation: An Interdisciplinary Journal, Millennium Film Journal, Leonardo Electronic Almanac, and the anthologies Global Art Cinema: New Histories and Theories (2010), and Taking Place: Location and the Moving Image (2011), among others.
What is a moving image? Through close analyses of a stunning range
of post-media moving-image artists, Jihoon Kim assesses and reworks
forty years of debate on medium specificity, formal abstraction,
recycled footage, image processing and installation aesthetics. The
resulting critiques of convergent and discrete media, ontologies of
the image, and the role of art in the communicative epoch we are
now entering have profound implications not just for the media arts
but for art and media in the 21st century.
*Sean Cubitt, Professor of Film and Television, Goldsmiths,
University of London, UK*
Between Film, Video, and the Digital is a paramount important
transdisciplinary study of contemporary media fusion under the sign
of technologically advanced processing of moving images and images
of motion. It dismantles the identity of a medium as essentially
hybrid and draws on an impressive array of art works since the
1990's that reconfigure and interlace experimental cinema, video
installation, and digital animation. Jihoon Kim's in-depth
comparative analysis of intermedial properties and aesthetic
appearances of still and moving images reveals multiple and diverse
conditions of today's visual media in flexible, fluid, and
in-between forms. Transversing the narrow meanings of both 'medium
specificity' and 'post-media' in media and film studies and art
criticism where disciplinary discourse aims to establish borders,
this book insists on hybridity as key concept for a comprehensive
critical theory of artistic practices that is needed when we want
to understand all possible forms of vision and visuality in moving
images.
*Yvonne Spielmann, Professor of Media Studies, The University of
the West of Scotland, UK; author of Video. The Reflexive Medium and
Hybrid Culture: Japanese Media Arts in Dialogue with the West*
Through the lenses of hybridity, this book provides a novel
approach to post-cinema. Page after page, we discover a territory
where medium specificity dissolves, but the pleasure of moving
images increases. Passionate and informed, this book leads us on an
unexpected journey.
*Francesco Casetti, Thomas E. Donnelley Professor of Humanities and
Film and Media Studies, Yale University, USA*
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