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The (moving) pictures generationthe cinematic impulse in downtown New York art and film /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The (moving) pictures generationVera Dika.
其他題名:	the cinematic impulse in downtown New York art and film /
作者:	Dika, Vera,
出版者:	New York :Palgrave Macmillan,2012.
面頁冊數:	1 online resource (xix, 245 p.) :ill.
標題:	Art and motion picturesHistory20th century.New York (State)
電子資源:	https://link.springer.com/book/10.1057/9781137118516
ISBN:	9781137118516 (electronic bk.)

The (moving) pictures generationthe cinematic impulse in downtown New York art and film /
Dika, Vera,1951-

The (moving) pictures generationthe cinematic impulse in downtown New York art and film /[electronic resource] :Vera Dika. - 1st ed. - New York :Palgrave Macmillan,2012. - 1 online resource (xix, 245 p.) :ill.

Includes bibliographical references (p. [227]-231) and index.

Introduction -- PART I: (MOVING) PICTURES -- The (Moving) Picture: Joseph Cornell, Edison Company, Andy Warhol, Jack Goldstein -- The Female Body and the Frameline: Andy Warhol and Cindy Sherman -- Vivienne Dick's Film Portraits -- PART II: COMMUNITY -- Amos Poe and the New York New Wave -- Downtown and Community: Eric Mitchell, James Nares, Nan Goldin -- PART III: NARRATIVE EXPECTATIONS -- The Art of Transformation: Jack Goldstein, Robert Longo, and Cindy Sherman -- Edging toward the Mainstream: Eric Mitchell, Jim Jarmusch, Amos Poe, Kathryn Bigelow -- PART IV: THE CINEMATIC BODY -- Themes of Aggression: Lizzie Borden, Bette Gordon, Vivienne Dick, Beth and Scott B., James Nares, John Lurie -- The Male Body in Cinematic Performance: David Byrne, Spalding Gray, Paul Swan, Eric Bogosian -- The Ephemeral Body, the Female Voice: Louise Lawler, Ericka Beckman -- PART V: THE MAINSTREAM -- Incursions into Popular Culture: Robert Longo, Cindy Sherman, Kathryn Bigelow, Julian Schnabel -- Conclusion and Continuation --.

Beginning in the late 1970s, a number of visual artists in downtown New York City returned to an exploration of the cinematic. They engaged cinematic movement, time, and the body in their work, and they did so across mediums, utilizing not only film, but sculpture, drawing, photography, and performance. This cinematic impulse was evident in the high art of Jack Goldstein, Robert Longo, and Cindy Sherman, in the film practices of 'No Wave' filmmakers Amos Poe and Vivienne Dick, and in the feature films of Kathryn Bigelow. Vera Dika considers the work within a greater cultural context and probes for a deeper understanding of the practice.

ISBN: 9781137118516 (electronic bk.)

Standard No.: 9786613657466

Source: 612900Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

583560
Art and motion pictures
--History--New York (State)--20th century.Index Terms--Genre/Form:

214472
Electronic books.

LC Class. No.: N72.M6 / D55 2012

Dewey Class. No.: 709.04/07

The (moving) pictures generationthe cinematic impulse in downtown New York art and film /
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300 $a 1 online resource (xix, 245 p.) : $b ill.
504 $a Includes bibliographical references (p. [227]-231) and index.
505 0 $a Introduction -- PART I: (MOVING) PICTURES -- The (Moving) Picture: Joseph Cornell, Edison Company, Andy Warhol, Jack Goldstein -- The Female Body and the Frameline: Andy Warhol and Cindy Sherman -- Vivienne Dick's Film Portraits -- PART II: COMMUNITY -- Amos Poe and the New York New Wave -- Downtown and Community: Eric Mitchell, James Nares, Nan Goldin -- PART III: NARRATIVE EXPECTATIONS -- The Art of Transformation: Jack Goldstein, Robert Longo, and Cindy Sherman -- Edging toward the Mainstream: Eric Mitchell, Jim Jarmusch, Amos Poe, Kathryn Bigelow -- PART IV: THE CINEMATIC BODY -- Themes of Aggression: Lizzie Borden, Bette Gordon, Vivienne Dick, Beth and Scott B., James Nares, John Lurie -- The Male Body in Cinematic Performance: David Byrne, Spalding Gray, Paul Swan, Eric Bogosian -- The Ephemeral Body, the Female Voice: Louise Lawler, Ericka Beckman -- PART V: THE MAINSTREAM -- Incursions into Popular Culture: Robert Longo, Cindy Sherman, Kathryn Bigelow, Julian Schnabel -- Conclusion and Continuation --.
505 0 $a Prologue: downtown New York in the late 1970s and beyond -- (Moving) Pictures: (Moving) pictures: introduction; Stillness/movement:: Joseph Cornell, Edison Company, Andy Warhol, Jack Goldstein; The female body and the film frame: Andy Warhol, Cindy Sherman; Vivienne Dick's film portraits -- Community: Amos Poe and the New York new wave; Downtown and community: Eric Mitchell, James Nares, Nan Goldin -- Narrative Expectations: Strategies of transformation: Jack Goldstein, Robert Longo, Cindy Sherman; Strategies of opposition: Eric Mitchell, Kathryn Bigelow, Lizzie Borden -- The Cinematic Body: Performance and the cinematic: Paul Swan, Eric Bogosian; The ephemeral body/the female voice: Louis Lawler, Ericka Beckman -- Downtown and the Mainstream: Incursions into popular culture: Robert Longo, Cindy Sherman, Kathryn Bigelow -- Conclusion and continuation.
520 $a Beginning in the late 1970s, a number of visual artists in downtown New York City returned to an exploration of the cinematic. They engaged cinematic movement, time, and the body in their work, and they did so across mediums, utilizing not only film, but sculpture, drawing, photography, and performance. This cinematic impulse was evident in the high art of Jack Goldstein, Robert Longo, and Cindy Sherman, in the film practices of 'No Wave' filmmakers Amos Poe and Vivienne Dick, and in the feature films of Kathryn Bigelow. Vera Dika considers the work within a greater cultural context and probes for a deeper understanding of the practice.
520 $a "Downtown New York in the late 1970s was filled with a vibrant energy, and with young artists making groundbreaking work. Many, like Cindy Sherman, Robert Longo, and Kathryn Bigelow, have become legendary. The (Moving) Pictures Generation is a book about artists who were trained in art schools rather than film schools, but whose fascination was with the "movies." Their art was rife with cinematic reference, not only through "appropriation," as often noted, but by something deeper. Cinematic time, as duration and history, was engaged, as well as body movement, as gesture and pose, and narrative as cultural meaning. Andy Warhol in the 1960s had addressed similar issues. "--Provided by publisher.
520 $a "Beginning in the late 1970s, a number of visual artists in downtown New York City returned to an exploration of the cinematic. They engaged cinematic movement, time, and the body in their work, and did so across mediums, utilizing not only film, but sculpture, drawing, photography, and performance. The cinematic impulse was evidenced in the high art of Jack Goldstein, Robert Longo, and Cindy Sherman, and in the film practices of "No Wave" filmmakers Amos Poe and Vivienne Dick, and the feature films of Kathryn Bigelow. Vera Dika considers the work within a greater cultural context and probes for a deeper understanding of the practice"--Provided by publisher.
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