Art and its shadow is an analysis of contemporary art and film. Ranging across the work of Andy Warhol, cyberpunk, Wim Wenders, and Derek Jarman, thinking of difference and the possibility of a philosophical cinema, Perniola exmines the latest and most disturbing tendencies in art.
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The Shadow and Its Shadow is a classic collection of writings by the Surrealists on their mad love of moviegoing. The forty-odd theoretical, polemical, and poetical re-visions of the seventh art in this anthology document Surrealism's scandalous and nonreductive take on film. Writing between 1918 and 1977, the essayists include such names as André Breton, Louis Aragon, Robert Desnos, Salvador Dalí, Luis Buñuel, and man Ray, as well as many of the less famous though equally fascinating figures of the movement. Paul Hammond's introduction limns the history of Surrealist cinemania, highlighting how these revolutionary poets, artists, and philosophers sifted the silt of commercial-often Hollywood-cinema for the odd fleck of gold, the windfall movie that, somehow slipping past the censor, questioned the dominant order. Such prospecting pivoted around the notion of lyrical behavior-as depicted on the screen and as lived in the movie house. The representation of such behavior led the Surrealists to valorize the manifest content of such denigrated genres as silent and sound comedy, romantic melodrama, film noir, horror movies. As to lived experience, moviegoing Surrealists looked to the spectacle's latent meaning, reading films as the unwitting providers of redemptive sequences that could be mentally clipped out of their narrative context and inserted into daily life-there, to provoke new adventures. "Hammond's book is a reminder of the wealth and range of surrealist writings on the cinema. . . . [T]he work represented here is still challenging and genuinely eccentric, locating itself in an 'ethic' of love, reverie and revolt." --Sight & Sound "Hammond, who is the author of the invaluable anthology The Shadow and its Shadow: Surrealist Writing on the Cinema (1978), writes about cinema independently of the changing academic and cultural fashions of film theory and abhors the dogmas of contemporary border-patrol thought. His magnetically appealing free-wheeling form of eru
Ten centuries of art Its progress in Europe from the 9th to the 19th century With a glance at the artistic works of classical antiquity and concluding considerations on the probable influence of the Great Exhibition etc
- Author : Henry Noel Humphreys
- Publisher : Unknown
- Release Date : 1852
- Genre : Uncategorized
- Pages : 231
- ISBN : BL:A0019962834
HE’LL EAT YOUR HEART, EAT YOUR EYES, DEVOUR YOUR SOUL, THEN YOUR LIES, HE’LL MAKE YOU SCREAM, MAKE YOU CRY, AND WON’T LET UP UNTIL YOU DIE… After her mother’s funeral, Dracula-obsessed Catherine Hall goes to stay at her Aunt Lyrica’s B&B in Whitby, a place she used to visit often as a child. She thinks some sea air and time spent with her mother’s eccentric sister is just what she needs. Catherine’s past is marred by a terrible secret, however. A secret shrouded in folklore. And it’s not long till Catherine finds herself immersed in a hellish nightmare in which a familiar dark presence unveils itself and preys on her every fear. Memories of Aunt Lyrica’s daughter, the popular and outgoing teenage-runaway Calanthe Black, come crashing back, and Catherine realises she must piece together the terrifying truth of what really happened to her cousin in the summer of 2003. Because when Catherine’s teenage sister, Summer, the family’s blue-eyed girl, unexpectedly turns up at the B&B, Catherine – now haunted by ghostly visions – can’t help but wonder: is history about to repeat itself?
An entirely new account of Leonardo the artist and Leonardo the scientist, and why they were one and the same man Leonardo da Vinci has long been celebrated for his consummate genius. He was the painter who gave us the Mona Lisa and The Last Supper, and the inventor who anticipated the advent of airplanes, hot air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? Historians of Renaissance art have long supposed that Leonardo became increasingly interested in science as he grew older and turned his insatiable curiosity in new directions. They have argued that there are, in effect, two Leonardos—an artist and an inventor. In this pathbreaking new interpretation, the art historian Francesca Fiorani offers a different view. Taking a fresh look at Leonardo’s celebrated but challenging notebooks, as well as other sources, Fiorani argues that Leonardo became familiar with advanced thinking about human vision when he was still an apprentice in a Florence studio—and used his understanding of optical science to develop and perfect his painting techniques. For Leonardo, the task of the painter was to capture the interior life of a human subject, to paint the soul. And even at the outset of his career, he believed that mastering the scientific study of light, shadow, and the atmosphere was essential to doing so. Eventually, he set down these ideas in a book—A Treatise on Painting—that he considered his greatest achievement, though it would be disfigured, ignored, and lost in subsequent centuries. Ranging from the teeming streets of Florence to the most delicate brushstrokes on the surface of the Mona Lisa, The Shadow Drawing vividly reconstructs Leonardo’s life while teaching us to look anew at his greatest paintings. The result is both stirring biography and a bold reconsideration of how the Renaissance understood science and art—and of what was lost when that understanding was forgotte
A compelling and innovative reflection on the way photography captures and condenses time Two photographs, connected by a ladder, separated by a century. First, William Henry Fox Talbot photographed a faithfully realistic image of a ladder against a haystack in the English countryside.One hundred years later, an anonymous photographer captured another ladder, “photographed” alongside an incinerated man by the blinding light of the atomic bomb. These two images underpin a poetic and theoretical reflection on the origins of photographic technique, the imaginative power of montage, and the relation of photography to time itself in Jean-Christophe Bailly’s The Instant and Its Shadow, translated into English for the very first time. A rare find of intellectual caliber and theoretical rigor, The Instant and Its Shadow pursues a unique and powerful reflection on the first hundred years of photography’s history and on the essence of the photographic art in general. Inspired by the unexpected coming together of these two iconic images, the book begins by retracing Talbot’s invention of the photographic calotype in the early nineteenthcentury, highlighting the paradox that saw Talbot wishing to imitate the representative arts of painting and drawing while simultaneously liberating the image from any imitative paradigm. This analysis leads Bailly to elucidate photography’s relation to material and visual reality. A meditation on photography’s seeming ability to stop time follows, concluding with the photographs of Hiroshima and the photographic nature of the atomic bomb. Building on an inspired juxtaposition of The Haystack with the Hiroshima photographs, the book becomes a testament to the potency of photomontage, arguing that “the more singular an image, the greater its connective power.” Bailly’s book is at once a lyrical homage to some of the founding texts of photographic theory and a startling reminder of the uncanny power of photography itself. Part
What's in a shadow? Menace, seduction, or salvation? Immaterial but profound, shadows lurk everywhere in literature and the visual arts, signifying everything from the treachery of appearances to the unfathomable power of God. From Plato to Picasso, from Rembrandt to Welles and Warhol, from Lord of the Rings to the latest video game, shadows act as central players in the drama of Western culture. Yet because they work silently, artistic shadows often slip unnoticed past audiences and critics. Conceived as an accessible introduction to this elusive phenomenon, Grasping Shadows is the first book that offers a general theory of how all shadows function in texts and visual media. Arguing that shadow images take shape within a common cultural field where visual and verbal meanings overlap, William Sharpe ranges widely among classic and modern works, revealing the key motifs that link apparently disparate works such as those by Fra Angelico and James Joyce, Clementina Hawarden and Kara Walker, Charles Dickens and Kumi Yamashita. Showing how real-world shadows have shaped the meanings of shadow imagery, Grasping Shadows guides the reader through the techniques used by writers and artists to represent shadows from the Renaissance onward. The last chapter traces how shadows impact the art of the modern city, from Renoir and Zola to film noir and projection systems that capture the shadows of passers-by on streets around the globe. Extending his analysis to contemporary street art, popular songs, billboards, and shadow-theatre, Sharpe demonstrates a practical way to grasp the "dark side" that looms all around us.
- Author : Sir Matthew Digby Wyatt
- Publisher : Unknown
- Release Date : 1870
- Genre : Architecture
- Pages : 375
- ISBN : BL:A0018389571
Coinciding with an exhibition at the Block Museum of Art at Northwestern University, which examines Hitchcocks very collaborative filmmaking process, this book represents an important contribution to Hitchcock scholarship, and offers a provocative glimpse at his unsung strength as a collaborative artist.
The writers of the New Testament were largely Jewish and laying the blame for the Holocaust at their feet would be absurd. However, the later cultural origins of anti-semitism means that reading the New Testament after the event calls for a new ethics of interpretation. These essays address this grave issue in detail,
An understanding of John Ruskin's aesthetic theories is important in providing the influences to the discussion of photography as art and the idea of the appropriate purpose of photographic education.
- Author : Percy Bysshe Shelley
- Publisher : Unknown
- Release Date : 1889
- Genre : Uncategorized
- Pages : 164
- ISBN : UCR:31210000977114
The Encyclop dia Britannica Or Dictionary of Arts Sciences and General Literature with Extensive Improvements and Additions and Numerous Engravings
- Author : Anonim
- Publisher : Unknown
- Release Date : 1854
- Genre : Encyclopedias and dictionaries
- Pages : 231
- ISBN : HARVARD:HN5UYM