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Durational cinema = a short history ...

Walsh, Michael.

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Durational cinema = a short history of long films /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Durational cinema/ by Michael Walsh.
Reminder of title:	a short history of long films /
Author:	Walsh, Michael.
Published:	Cham :Springer International Publishing : : 2022.,
Description:	xiii, 289 p. :ill., digital ;24 cm.
[NT 15003449]:	1. Introduction -- 2. The New York Avant-Garde of the 1960s -- 3. European Art Cinema in the Years After 1968 -- 4. Gallery and Museum Spaces Since the 1990s -- 5. Durational Documentary.
Contained By:	Springer Nature eBook
Subject:	Motion pictures - History - 20th century. -
Online resource:	https://doi.org/10.1007/978-3-030-76092-2
ISBN:	9783030760922

Durational cinema = a short history of long films /
Walsh, Michael.

Durational cinemaa short history of long films /[electronic resource] :by Michael Walsh. - Cham :Springer International Publishing :2022. - xiii, 289 p. :ill., digital ;24 cm. - Experimental film and artists' moving image,2523-7535. - Experimental film and artists' moving image..

1. Introduction -- 2. The New York Avant-Garde of the 1960s -- 3. European Art Cinema in the Years After 1968 -- 4. Gallery and Museum Spaces Since the 1990s -- 5. Durational Documentary.

This book argues for a durational cinema that is distinct from slow cinema, and outlines the history of its three main waves: the New York avant-garde of the 1960s, the European art cinema in the years after 1968, and the international cinema of gallery spaces as well as film festivals since the 1990s. Figures studied include Andy Warhol, Ken Jacobs, Chantal Akerman, Marguerite Duras, Claude Lanzmann, James Benning, Kevin Jerome Everson, Lav Diaz, and Wang Bing.Durational cinema is predominantly minimal, but has from the beginning also included a more encompassing or encyclopedic kind of filmmaking. Durational cinema is characteristically representational, and converges on certain topics (the Holocaust, deindustrialization, the experience of the working class and other marginalized people), but has no one meaning, signifying differently at different moments and in different hands. Warhol's durational cinema of subtraction is quite different from Jacobs's durational cinema of social disgust, while Lav Diaz' durational sublime is quite different from Kevin Jerome Everson's unblinking studies of African-American working people.

ISBN: 9783030760922

Standard No.: 10.1007/978-3-030-76092-2doiSubjects--Topical Terms:

1093521
Motion pictures
--History--20th century.

LC Class. No.: PN1993.5.A1

Dewey Class. No.: 791.43

Durational cinema = a short history of long films /
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520 $a This book argues for a durational cinema that is distinct from slow cinema, and outlines the history of its three main waves: the New York avant-garde of the 1960s, the European art cinema in the years after 1968, and the international cinema of gallery spaces as well as film festivals since the 1990s. Figures studied include Andy Warhol, Ken Jacobs, Chantal Akerman, Marguerite Duras, Claude Lanzmann, James Benning, Kevin Jerome Everson, Lav Diaz, and Wang Bing.Durational cinema is predominantly minimal, but has from the beginning also included a more encompassing or encyclopedic kind of filmmaking. Durational cinema is characteristically representational, and converges on certain topics (the Holocaust, deindustrialization, the experience of the working class and other marginalized people), but has no one meaning, signifying differently at different moments and in different hands. Warhol's durational cinema of subtraction is quite different from Jacobs's durational cinema of social disgust, while Lav Diaz' durational sublime is quite different from Kevin Jerome Everson's unblinking studies of African-American working people.
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