Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990s-the rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptations-it explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the "archaeomodern turn" in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agnes Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figures-Walter Benjamin, Gilles Deleuze, and Serge Daney-who grappled with the late twentieth century's characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age.

Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990s-the rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptations-it explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the archaeomodern turn in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agnès Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figures-Walter Benjamin, Gilles Deleuze, and Serge Daney-who grappled with the late twentieth century's characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age.

Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990s-the rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptations-it explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the "archaeomodern turn" in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agnès Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figures-Walter Benjamin, Gilles Deleuze, and Serge Daney-who grappled with the late twentieth century's characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age.

A zany bunch of futuristic actors -- Victor, the eternal student; Ginger, the milkmaid; Dibbler, the sausage salesman; and Gaspode, the talking dog -- embarks on an epic movie project.

Hollander explores the premise that paintings, prints, and movies move us similarly by virtue of their narrative element, which evokes our memories and feelings. She argues that we respond to the depiction of glimpses of human life, to the realization that we cannot see everything at once, and how the rendering of light and spatial composition translates them and keeps them moving into our awareness. Thus there is a continuum from the paintings and graphic arts of 15th century northern Europe to the "proto-cinematic arts" of the present. ISBN 0-394-57400-1: $29.95.

Offers a wealth of insight into the paradoxical nature of film, considering its role and impact on society in the 20th century as well as its future in the digital age. Original.

This collection focuses overtly on the internal dynamics and links between art markets in the early modern period, but presupposes that art objects - here visual images - are objects of desire. During this period, however, desire changed; a great deal more of these objects came to be made for ordinary domestic consumption, including devotional purposes, than as tokens of the magnificence, piety, cultivation or learning of individual commissioners. Probably most still were commissioned, but to satisfy tastes that, though differentiated internationally, were widely shared within one country or region. Most too were commissioned at a distance, by agents, and were moved between maker and end-point distributor by specialized traders, many of whom, though far from all, were large-scale operators. The dominant focus of contributors here therefore is on the agents of this distance trade, its mechanisms and its impacts in terms of both satisfying and subtly shaping tastes, all at a range of prices. Measurement and mappings are aspects of this traffic. Focus was sharpened by concentrating on three questions: what is currently known about the numbers of images, whether in the form of paintings, prints, small sculptures or woven textiles, that circulated in early modern Europe? Through what channels and networks were they distributed? And what were the economic, social and institutional contexts?