The Sharpest Point: Animation at the End of CinemaChris Gehman, Steve Reinke Editors Chris Gehman and Steve Reinke bring together a collection of critical essays and artists' projects that is indispensable to anyone who, in this new digital era, has begun to question the modern cinematic experience. |
Contents
Fleischer Morphs Harlem | 27 |
From Image Streams to Modular Media | 49 |
The Dream Life of Technology | 74 |
The Art of Tabaimo | 85 |
William Kentridges Drawings for Projection | 96 |
An Olfactory View | 126 |
Animation and New Media | 138 |
I blacked out and had some very vivid dreams | 152 |
Animated Image Animated Music | 198 |
Demoscene and Digital Culture | 206 |
Our Town | 227 |
This | 239 |
Animating the Jitter and Tilt of Erotic Anguish | 240 |
Scratchatopia | 256 |
The Moschops | 270 |
| 282 | |
Common terms and phrases
abstract aesthetic artists audience automatism avant-garde become Benjamin Blake's body Brothers Quay called camera cartoons Cavell characters cinema colour computer-generated concept contemporary courtesy create culture Deleuze demos demoscene diegesis digital compositing Disney documentary drawing Eisenstein elements example experience fiction figure film's filmic filmmaker's filmmakers Fleischer footage frame by frame Gallery graphic hand haptic Hollywood human idea illusion imagery imagination indexical Institute Benjamenta interactive Japanese Jeremy Blake Kentridge Kentridge's layers Lev Manovich live action live-action machine Manovich Mead's medium memory montage morph motion movement movie moving image narrative objects Ossie Clark painting palimpsest photographic Pierre Hébert produced projection puppet Quays QuickTime reality representation rotoscoped scene screen sense sequence shot simulation smell sound space special effects Stan Brakhage story Street of Crocodiles Tabaimo's techniques television theatre tion traditional viewer virtual visual Walter Benjamin Xform