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Between Film, Video, and the Digital


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Table of Contents

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

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A wide-ranging theoretical and aesthetic exploration of hybrid moving images based on the intersection of film, video, and digital technology

About the Author

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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