In the footsteps of Andre Bazin, this anthology of 15 original essays argues that the photographic origin of twentieth-century cinema is anti-anthropocentric. Well aware that the twentieth century stands out as the only period in history with its own photographic film record for posterity, Angela Dalle Vacche has convened international scholars at The Sterling and Francine Clark Art Institute, and asked them to rethink the history and theory of the cinema as a new model for the museum of the future. By exploring the art historical tropes of face and landscape, and key areas of film studies such as early cinema, Soviet film theory, documentary, the avant-garde and the newly-born genre of the museum film, this collection includes detailed discussions of installation art, and close analyses of media relations which range from dance to painting to performance art. Thanks to the title of Andre Malraux's famous project, Film, Art, New Media: Museum Without Walls? invites readers to reflect on the museum of the future, where twentieth-century cinema will play a pivotal role by interrogating the relation between art and science, technology and nature, from the side of photography in dialogue with digitalization.

'A provocative interrogation of the multidimensional relations among the visual arts. Consistently lucid, informed and original, these essays reveal unexpected and hitherto unexplored aspects of modernity and visual culture that suggest fresh and creative ways of rethinking these phenomena. An outstanding collection.'

• Ronald Bogue, University of Georgia, USA

'The sixteen essays gathered in this volume offer stimulating perspectives on the cultural and media processes which have just led, since the early twentieth century to the present day, to such an alleged loss of the museum's walls.'

• Susana S. Martins, Journal of Curatorial Studies 2.2

Autorentext
DUDLEY ANDREW R. Selden Rose Professor of Film and Comparative Literature at Yale University, USA NELL ANDREW Assistant Professor of Art History at the University of Georgia, USA IAN CHRISTIE Fellow of the British Academy and Professor of Film and Media History at Birkbeck College, University of London, UK SIMON DIXON teaches Film, Literature, and Critical Studies in the Honors Program at Montana State University, USA SUSAN FELLEMAN Associate Professor of Cinema Studies in the Department of Cinema and Photography and of Women's Studies at Southern Illinois University Carbondale, USA GAVIN HOGBEN Working Architect and Researcher in digital media who has taught, practiced, and published extensively on both sides of the Atlantic TROND LUNDEMO Associate Professor in the Department of Cinema Studies at Stockholm University, Sweden JOHN MACKAY Professor of Slavic Languages and Literatures and Film Studies and Chair of the Film Studies Program at Yale University, USA LYNDA NEAD Pevsner Professor of History of Art at Birkbeck College, University of London, UK FRANÇOIS PENZ teaches in the Faculty of Architecture and History of Art at the University of Cambridge, UK BRIGITTE PEUCKER Elias Leavenworth Professor of German and a Professor of Film Studies at Yale University, USA LARA PUCCI Lecturer in Art History at the University of Nottingham, UK SALLY SHAFTO teaches film at Ibn Zohr University in its Polydisciplinary Faculty in Ouarzazate, Morocco NOA STEIMATSKY AssociateProfessor in the Department of Cinema and Media Studies at the University of Chicago, USA JEREMI SZANIAWSKI PhD candidate at Yale University, USA

Inhalt
Foreword; B.Peucker Acknowledgments Note on Contributors Introduction; A.Dalle Vacche PART I: EARLY CINEMA The Artist's Studio: The Affair of Art and Film; L.Nead Cezanne and the Lumiere Brothers; A.Dalle Vacche The Medium is a Muscle: Abstraction in Early Film, Dance, Painting; N.Andrew PART II: FILM THEORY Vertov and the Line: Art, Socialization, Collaboration; J.MacKay Quoting Motion: The Frame, the Shot, and Digital Video; T.Lundemo Malraux, Benjamin, Bazin: A Triangle of Hope for Cinema; D.Andrew Poetic Density, Ontic Weight: Post-Photographic Depiction in Victor Erice's Dream of Light; S.Dixon PART III: VISUAL STUDIES, ART HISTORY, FILM Of the Face, in Reticence; N.Steimatsky Remapping the Rural: The Ideological Geographies of Strapaese; L.Pucci PART IV: PAINTERS AND FILMMAKERS Artistic Encounters: Jean-Marie Straub, Daniele Huillet, and Cezanne; S.Shafto Two-Way Mirror: Francis Bacon and the Deformation of Film; S.Felleman PART V: FILM, MUSEUM, NEW MEDIA A Disturbing Presence? Scenes from the History of Film in the Museum; I.Christie Elegy, Eulogy, and the Utopia of Restoration-Alexander Sokurov's Russian Ark; J.Szaniawski Museums as Laboratories of Change: the Case for the Moving Image; F.Penz Right Here...Right Now...Art Gone Live!; G.Hogben Index