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Between Film, Video, and the Digital : = The Art of Hybrid Moving Images, Medium Specificity, and Intermediality.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Between Film, Video, and the Digital :/
Reminder of title:	The Art of Hybrid Moving Images, Medium Specificity, and Intermediality.
Author:	Kim, Ji-hoon.
Description:	1 online resource (520 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 73-03, Section: A.
Contained By:	Dissertations Abstracts International73-03A.
Subject:	Communication. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3466908click for full text (PQDT)
ISBN:	9781124808109

Between Film, Video, and the Digital : = The Art of Hybrid Moving Images, Medium Specificity, and Intermediality.
Kim, Ji-hoon.

Between Film, Video, and the Digital :The Art of Hybrid Moving Images, Medium Specificity, and Intermediality. - 1 online resource (520 pages)

Source: Dissertations Abstracts International, Volume: 73-03, Section: A.

Thesis (Ph.D.)--New York University, 2011.

Includes bibliographical references

This dissertation investigates hybrid moving images across experimental cinema, video installation, and digital arts during the last two decades, characterizing them as derived from varying combinations of film, video, and the digital that have hitherto been regarded as distinct. I argue that these images ask us to redefine the concept of a medium as both specific and hybridized. The idea of specificity as such must be maintained in these images, because the intermingling of different media elements is possible only when differences between them are identified. At the same time, a medium's components are understood as historically variable and thus open to the intersection with those of other media, which disallows the modernist medium specificity argument that a medium's unique features necessarily dictate the forms and styles of an art. In order to reconfigure medium specificity in this way, the dissertation interweaves three overlapping concepts of intermediality: first, intermediality as referring to the processes by which a medium is differentiated into its multiple components that are thrown into a range of relations to other arts; second, intermediality as indicating particular images based on the configurations of the components from film, video, and the digital; and finally, intermediality as a methodological tool for analyzing the interactions between those components in four types of hybrid moving images: "film-video" hybrids in the works of Bill Viola, Sam Taylor-Wood, and Mark Lewis; the exchange of photographic stillness and cinematic movement in the works of Jim Campbell, David Claerbout, Fiona Tan, Adad Hannah, Wolfgang Staehle, and Thomas Koner; the uses of digital techniques to investigate and transform existing film images in the found footage cinema of Christophe Girardet and Matthias Muller, R. Bruce Elder, and Ken Jacobs; and finally, the correlation of cinematic and video-based technologies in the spatial and temporal dimensions of the installations by Harun Farocki, Doug Aitken, Douglas Gordon, Candice Breitz, and Stan Douglas. Examinations of all these artworks demonstrate the effectiveness of intermediality as a compelling framework for overcoming the divide between discourses emphasizing the singularity of traditional media and those highlighting digital convergence.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9781124808109Subjects--Topical Terms:

524709
Communication.
Subjects--Index Terms:

CinemaIndex Terms--Genre/Form:

542853
Electronic books.

Between Film, Video, and the Digital : = The Art of Hybrid Moving Images, Medium Specificity, and Intermediality.
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504 $a Includes bibliographical references
520 $a This dissertation investigates hybrid moving images across experimental cinema, video installation, and digital arts during the last two decades, characterizing them as derived from varying combinations of film, video, and the digital that have hitherto been regarded as distinct. I argue that these images ask us to redefine the concept of a medium as both specific and hybridized. The idea of specificity as such must be maintained in these images, because the intermingling of different media elements is possible only when differences between them are identified. At the same time, a medium's components are understood as historically variable and thus open to the intersection with those of other media, which disallows the modernist medium specificity argument that a medium's unique features necessarily dictate the forms and styles of an art. In order to reconfigure medium specificity in this way, the dissertation interweaves three overlapping concepts of intermediality: first, intermediality as referring to the processes by which a medium is differentiated into its multiple components that are thrown into a range of relations to other arts; second, intermediality as indicating particular images based on the configurations of the components from film, video, and the digital; and finally, intermediality as a methodological tool for analyzing the interactions between those components in four types of hybrid moving images: "film-video" hybrids in the works of Bill Viola, Sam Taylor-Wood, and Mark Lewis; the exchange of photographic stillness and cinematic movement in the works of Jim Campbell, David Claerbout, Fiona Tan, Adad Hannah, Wolfgang Staehle, and Thomas Koner; the uses of digital techniques to investigate and transform existing film images in the found footage cinema of Christophe Girardet and Matthias Muller, R. Bruce Elder, and Ken Jacobs; and finally, the correlation of cinematic and video-based technologies in the spatial and temporal dimensions of the installations by Harun Farocki, Doug Aitken, Douglas Gordon, Candice Breitz, and Stan Douglas. Examinations of all these artworks demonstrate the effectiveness of intermediality as a compelling framework for overcoming the divide between discourses emphasizing the singularity of traditional media and those highlighting digital convergence.
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653 $a Digital media
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653 $a Medium specificity
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710 2 $a New York University. $b Cinema Studies. $3 1022523
773 0 $t Dissertations Abstracts International $g 73-03A.
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