Touching Images

The Museum as a Cinematic Space ◽

10.3366/edinburgh/9781474416795.003.0011 ◽

2019 ◽

pp. 124-136

Author(s):

Elisa Mandelli

Keyword(s):

Crucial Role ◽

Natural Interaction ◽

Moving Images ◽

The Spectator

This chapter discusses a number of audio-visual interactive devices in which the movement of the images plays a crucial role. In many contemporary museums, there are few press-buttons devices or objects to be touched or handled. Rather, visitors have to touch moving images themselves, whose surface acts as an interface between the spectator and the representation. The technological component is thus concealed in favour of a seemingly “natural” interaction. Interactive tables, which are widespread in museums today, are an emblematic example of this tendency: the chapter analyses relevant cases, such as the interactive table at the Churchill Museum (London, UK).

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Sites of Screening

The Moving Eye ◽

10.1093/oso/9780190218430.003.0009 ◽

2019 ◽

pp. 121-140

Author(s):

Giuliana Bruno

Keyword(s):

Recent Trend ◽

Motion Pictures ◽

Art Galleries ◽

Moving Image ◽

Moving Images ◽

Chantal Akerman ◽

New Form ◽

The Spectator ◽

Contemporary Artists

This chapter investigates the recent trend toward installation of moving images in museums and art galleries. It considers the movement of the spectator through art venues and theorizes the nature of the screen and the haptic quality of the moving image in the work of such contemporary artists as Pierre Huyghe, Chantal Akerman, Janet Cardiff, and Trinh T. Minh-ha. The chapter develops an account of how the traditional theatrical projection of motion pictures has evolved into a new form of experiencing moving images with new affective and intellectual qualities.

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The New Gestural Cinema

Film Quarterly ◽

10.1525/fq.2014.67.3.17 ◽

2014 ◽

Vol 67 (3) ◽

pp. 17-29 ◽

Cited By ~ 3

Author(s):

Chris Berry

Keyword(s):

Political Economy ◽

The Political ◽

Narrative Coherence ◽

Embodied Experience ◽

Moving Images ◽

Art Scene ◽

The Spectator

This essay examines the work of Chinese artist Yang Fudong, who often uses moving images in his art. It notes that not only has he always been interested in the gestural, but also that he has become increasingly drawn to gestural cinema. It argues that Yang Fudong’s output is a prime example of a new gestural cinema, and that this new gestural cinema is encouraged by the political economy of working on the transnational art scene, or the “artscape.” It goes on to ask how Yang Fudong has been able to deploy this new gestural cinema to his own artistic ends. Noting the debates about whether the gestural is an alternative and even redemptive language or whether it is the excess that stands beyond meaning, the essay argues that Yang’s art exercises the tension between the two potential understandings to produce his own unique effects. In Yang’s gestural cinema, the promise of meaning and narrative coherence is repeatedly invoked, and associated with the appearance of numerous figures of the modern, young, and educated individual. Yet, this promise is always frustrated, creating a structure that moves us from gesture as a way of conveying embodied experience to thinking about what meanings might attach to the gestures without imposing any particular conclusion on the spectator. This ambiguity is ethical insofar as it demands our cogitation rather than our judgment.

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Imagistic Projection as Relational Becoming

Practices of Projection ◽

10.1093/oso/9780190934118.003.0015 ◽

2020 ◽

pp. 263-282

Author(s):

Felix Rebolledo Palazuelos ◽

Andréia Machado Oliveira

Keyword(s):

Object Relation ◽

Common Point ◽

Point Of View ◽

Projected Image ◽

Moving Images ◽

The World ◽

The Subject ◽

The Common ◽

The Spectator ◽

Relational Proposition

The geometry of projected images onto screens is rather simple and can be quite readily understood through basic optics and Euclidian geometry. As a result of the imagistic immersion of the spectacle of cinema, one shares in the experience of spectatorship through the common subjectivity of the moving pictures and a common point of view. All spectators are served the same relational proposition that enfolds them within the encompassing reach of the projection before them. Still, the shared subjectivity of the content on the screen is different from the becoming-one with the projected screen image that we like to think as inhabiting us: the milieu of imagistic encounter associates what we refer to as the inside and the outside of experience to simultaneously emerge as a singular becoming. In the interest of undoing the dualistic spectator/screen relationship that perpetuates the divide of the subject/object relation, this chapter looks at the nature of the relation between the spectator and the screen and the formation of the projected image as a compositional assemblage where the moving images that ‘live within us as consciousness’ encompass the world we live in. This chapter seeks to answer the question of how we become one with the screen through an articulation of Deleuze’s concept of the fold by way of the optical perspective models of Alberti and Viator, Kepler’s explorations of continuity through the generalized understanding of conics and perspective, as well as the implications of Desargues’s projective geometry and a final resolution through topology.

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Thrills in the dark: Young people’s moving image cultures and media education

Comunicar ◽

10.3916/c35-2010-02-03 ◽

2010 ◽

Vol 18 (35) ◽

pp. 33-42 ◽

Cited By ~ 3

Author(s):

Andrew Burn

Keyword(s):

Social Identity ◽

Young People ◽

Media Education ◽

Film Culture ◽

Moving Image ◽

Creative Processes ◽

Moving Images ◽

The Media ◽

The Spectator ◽

Medios De Comunicacion

This author deals with the attraction of that feeling of terror generated in the media, especially in cinema, and from the perspective of the controlled emotion behind that fear, pleasure and pain. What is the nature of the fear and pleasure the spectator feels? Why is it important for educators to take account of this connection between the viewer and the film? This subject is treated from film culture as experiecned by young Britons, with an analysis of the influence of cinema on the cultural lives of young people and the lessons that can be drawn. The author takes two young girls as an example, identifying their social identity and later outlining the state of education in cinema and the media. He presents two projects developed by young Britons on Psychosis and the creation of videogames. The author concludes that the fascinating world of moving images is open to us via films and videogames, by examining ludic structures and narratives and teaching students how these are interrelated and exploring their creative processes of production. El autor de este trabajo examina la atracción hacia el sentimiento de terror en los medios de comunicación, y especialmente en el cine, desde la perspectiva de la emoción contenida que genera el terror, lo angustioso y agradable… ¿Cuál es la naturaleza del miedo y el «placer» que se experimenta? ¿Por qué es importante que los educadores tengan en cuenta esta conexión que relaciona a los espectadores con la película? En este sentido, abordar el tema desde la perspectiva de la cultura cinematográfica de los jóvenes de Reino Unido, analizando la influencia del cine en la vida cultural de los jóvenes y cuál es la lección que deben obtener los educadores. Partiendo de una ejemplificación con dos chicas, en las que analiza sus identidades sociales, más tarde pasa a bosquejar la situación general de la educación en el cine y en los medios de comunicación, presentando brevemente dos investigaciones desarrolladas con jóvenes británicos sobre «Psicosis» y sobre creación de videojuegos. Concluye este autor que podemos introducirnos en el fascinante mundo de la imagen en movimiento a través de las películas y videojuegos, examinando las estructuras lúdicas y narrativas que existen, enseñando a los alumnos de qué forma se interrelacionan y explorando sus procesos creativos de producción.

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