In the 21st century, the screen - the Internet screen, the television screen, the video screen and all sorts of combinations thereof - will be booming in our visual and infotechno culture. Screen-based art, already a prominent and topical part of visual culture in the 1990s, will expand even more. In this volume, digital art - the new media - as well as its connectedness to cinema will be the subject of investigation. The starting point is a two-day symposium organized by the Netherlands Media Art Institute Montevideo/TBA, in collaboration with the L&B (Lier en Boog) series and the Amsterdam School of Cultural Analysis (ASCA). Issues which emerged during the course of investigation deal with questions such as: How could screen-based art be distinguished from other art forms? Could screen-based art theoretically be understood in one definite model or should one search for various possibilities and/or models? Could screen-based art be canonized? What are the physical and theoretical forms of representation for screen-based art? What are the idiosyncratic concepts geared towards screen-based art? This volume includes various arguments, positions, and statements by artists, curators, philosophers, and theorists. The participants are Marie-Luise Angerer, Annette W. Balkema, René Beekman, Raymond Bellour, Peter Bogers, Joost Bolten, Noël Carroll, Sean Cubitt, Cãlin Dan, Chris Dercon, Honoré d'O, Anne-Marie Duquet, Ken Feingold, Ursula Frohne, hARTware curators, Heiner Holtappels, Aernout Mik, Patricia Pisters, Nicolaus Schafhausen, Jeffrey Shaw, Peter Sloterdijk, Ed S. Tan, Barbara Visser and Siegfried Zielinski.

With internationalist aspirations and wide-ranging historical perspectives, East German films about artists and their work became hotly contested spaces in which filmmakers could look beyond the GDR and debate the impact of contemporary cultural policy on the reception of their pre-war cultural heritage. Spanning newsreels, documentaries, and feature films, Screening Art is the first full-length investigation into a genre that has been largely overlooked in studies of DEFA, the state-owned Eastern German film studio. As it shows, “artist-films” played an essential role in the development of new paradigms of socialist art in postwar Europe.

Design is at the essence of storytelling, but how does a production find its style and identity? This book explains how to approach design, whether for film, television, video promo or commercial making, and introduces the techniques needed to make ideas happen. Through theory and practical exercises, it looks at design in a different way and shows how the simplest decisions can become powerful ideas on screen. Explains the roles of the design team, including the production designer and art director; Explains how to extract design information from a script and how to identify key themes that can be used to support the telling of the story; Looks at how and where to research ideas, and suggests ways to illustrate them; Explores the importance of images, colour, texture and space to captivate an audience; Shows how to prepare drawings and models using various media; Refers to film and television productions, and shows how design decisions contribute to the story.

With internationalist aspirations and wide-ranging historical perspectives, East German films about artists and their work became hotly contested spaces in which filmmakers could look beyond the GDR and debate the impact of contemporary cultural policy on the reception of their pre-war cultural heritage. Spanning newsreels, documentaries, and feature films, Screening Art is the first full-length investigation into a genre that has been largely overlooked in studies of DEFA, the state-owned Eastern German film studio. As it shows, “artist-films” played an essential role in the development of new paradigms of socialist art in postwar Europe.

Casting fresh light on the renowned productions of auteurs like Antonioni, Fellini, and Bresson and drawing out from the shadows a range of important but lesser-known works, Screening Modernism is the first comprehensive study of European art cinema’s postwar heyday. Spanning from the 1950s to the 1970s, András Bálint Kovács’s encyclopedic work argues that cinematic modernism was not a unified movement with a handful of styles and themes but rather a stunning range of variations on the core principles of modern art. Illustrating how the concepts of modernism and the avant-garde variously manifest themselves in film, Kovács begins by tracing the emergence of art cinema as a historical category. He then explains the main formal characteristics of modern styles and forms as well as their intellectual foundation. Finally, drawing on modernist theory and philosophy along the way, he provides an innovative history of the evolution of modern European art cinema. Exploring not only modernism’s origins but also its stylistic, thematic, and cultural avatars, Screening Modernism ultimately lays out creative new ways to think about the historical periods that comprise this golden age of film.

The authors have developed a simple, one-page art screening form for use with the "human figure drawing" (HFD) and the "kinetic family drawing" (KFD), which has brought a standardization to the interview of these children and the interpretation of their art. This is invaluable to front-line clinicians, private practitioners, trauma centers, child protective services, and the legal system.