Alexander Kluge: Raw Material for the Imagination (Amsterdam by Tara Forrest

By Tara Forrest

Alexander Kluge is better often called a founding member of the hot German Cinema flow, yet his paintings has spanned a couple of genres and media. This wide-ranging e-book assembles a various number of texts, from nonfiction writings and brief tales through Kluge, to serious essays by way of popular overseas students on Kluge’s paintings, to transcripts of interviews with the artist himself. A helpful assortment for college kids and students within the fields of movie, tv, and media stories, Alexander Kluge: uncooked fabrics for the mind's eye is an ideal creation to Kluge’s key issues and ideas.

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Extra resources for Alexander Kluge: Raw Material for the Imagination (Amsterdam University Press - Film Culture in Transition)

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For instance, Minimal art from the United States, which reached the apex of its international popularity around that time, confronts the viewer with his or her reified existence, through its geometric, abstract objects and its industrial aesthetic. 20)49 and Éden before, constitute sites for an intimate encounter or embrace. 17 and 19 respectively). From the first Glass Bólides (1963) on, a tendency towards materials such as powder, fabric, plastic, glass and liquids is dominant in Oiticica’s work.

45 With their mixed-media works — or more precisely, works of indeterminate media — these three artists generated participative and intersubjective whole-body situations; reflecting the dissolution of the previously dominant pictorial or sculptural rules and methods. Instead, they favoured a sensual, affective or intellectual constitution of the audience or spectator. This approach is close to the theory of affects, which sees intuitions and feelings not as extrinsic to things, but as released by the encounter of the viewer with things.

Carlos Basualdo finds here the earliest occurrences of the term ‘quasi-cinema’. ; it ended at one in the morning: I went away transformed! ) by a level of SPECTACLE (PROJECTION-PERFORMANCE) towards which I am attracted through NEVILLE’s cinema experience…82 Yet, we may add, there is a crucial distinction between Oiticica and D’Almeida’s Cosmococas and Smith’s practice. 83 The footage and slides he nonetheless continued to produce and accumulate were presented in ‘living performances’ or ‘live-film’ sessions.

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