Two new eBooks: On Stillness and Motion Film, and on Contemporary Indonesian Film - Selamat datang di situs media global terbaru Xivanki, Pada halaman ini kami menyajikan informasi tentang Two new eBooks: On Stillness and Motion Film, and on Contemporary Indonesian Film !! Semoga tulisan dengan kategori
animation !!
early and silent cinema !!
film and history !!
freeze frame !!
ghost films !!
Indonesian cinema !!
photography and film !!
Rainer Werner Fassbinder !!
Southeast Asian cinema !!
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| Screenshot of a freeze frame from the opening credit sequence of Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979) |
Even before the credits, the opening of the film brings us the scene of a newly married couple and a registry official leaving a German registry office during an air raid. We watch as the excited couple throw themselves to the ground, imploring the official to sign the marriage certificate right there. A sheet of paper floats upward, borne on the gust of wind caused by exploding bombs, and then, in the middle of the visual field, there is a sudden standstill in the form of a freeze-frame, while the soundtrack continues to herald the horror of the approaching artillery. This is followed by the film title in red letters that fill the entire visual field, word after word, as if it were a page in a book. At the end, Fassbinder’s name appears alone on a white backdrop.
With this standstill, the floating sheet of paper is simultaneously captured and displaced by the film. Due to the non-sync between image and sound, of visual interruption and auditive flow, we are confronted from the very start with two various temporal modi: the time of the film narrative (the postwar years) and the time of the making of the film (the 1970s). At issue here is Fassbinder’s time-place: when the author tells stories and histories, they are always primarily in the present tense. [Christa Blümlinger, writing on the sequence in which the above freeze frame appears, in 'The Figure of Visual Standstill in R.W. Fassbinder’s Films', in Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011)
- Katinka van Heeren, Contemporary Indonesian Film; Spirits of Reform and ghosts from the past (Leiden: KITLV Press, 2012)
- Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011)
Dank u wel, the Netherlands (and the below authors, editors and publishers!): FSFF salutes you for your pioneering, open access ebook achievements!
Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011)
ContentsThe Still/Moving Field: An Introduction - Eivind Røssaak
Philosophies of Motion
The Play between Still and Moving Images: Nineteenth-Century “Philosophical Toys” and Their Discourse - Tom GunningDigital Technics Beyond the “Last Machine”: Thinking Digital
Media with Hollis Frampton - Mark B.N. Hansen
The Use of Freeze and Slide Motion
The Figure of Visual Standstill in R.W. Fassbinder’s Films - Christa Blümlinger
The Temporalities of the Narrative Slide Motion Film - Liv Hausken
The Cinematic Turn in the Arts
Stop/Motion - Thomas Elsaesser
After “Photography’s Expanded Field” - George Baker
On On Otto: Moving Images and the New Collectivity - Ina Blom
The Algorithmic Turn
Mutable Temporality In and Beyond the Music Video:
An Aesthetic of Post-Production - Arild Fetveit
Algorithmic Culture: Beyond the Photo/Film Divide - Eivind Røssaak
Archives in Between
“The Archives of the Planet” and Montage: The Movement of the Crowd and “the Rhythm of Life” - Trond Lundemo
Katinka van Heeren, Contemporary Indonesian Film; Spirits of Reform and ghosts from the past (Leiden: KITLV Press, 2012)
Contents
Preface
Introduction
part 1 film mediation practices
1 new order and surfaceProduction: The attempt to produce Provokator the New Order way 26 Distribution and exhibition: Trade and charade in cinemas and film formats2 reformasi and underground
Exhibition and consumption: Film festivals as forums for national imaginations and representations
ConclusionReformation in film production: Kuldesak and film independen
Distribution and exhibition of new media formats: ‘Local’ Beth versus ‘transnational’ Jelangkung
Alternative sites of film consumption: Additional identifications and modes of resistance Conclusionpart 2 discourse practices
3 histories, heroes, and monumental frameworksFilm history: New Order patronage of film perjuangan and film pembangunan
Film and historiography: Promotion and representations of New Order history
‘Film in the framework of’: G30S/PKI and Hapsak
Conclusion
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