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Moving Pictures and Renaissance Art History

By: Material type: TextTextSeries: Description: 1 online resource (584 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9048551625
  • 9789048551620
Subject(s): Genre/Form: LOC classification:
  • N72 .M685 2021
Online resources: Available additional physical forms:
Contents:
Table of Contents -- Foreword -- Prologue -- 1. The New and the Old in the Art of Cinema -- 2. The Machine Aesthetic -- 3. Competing with Text -- 4. After Eve -- Epilogue -- Bibliography -- List of Films -- Index
Summary: Film, like the printed imagery inaugurated during the Renaissance, spread ideas--not least the idea of the power of visual art--across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.
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Description based upon print version of record.

Includes bibliographies and index.

Cover -- Table of Contents -- Foreword -- Prologue -- 1. The New and the Old in the Art of Cinema -- 2. The Machine Aesthetic -- 3. Competing with Text -- 4. After Eve -- Epilogue -- Bibliography -- List of Films -- Index

Film, like the printed imagery inaugurated during the Renaissance, spread ideas--not least the idea of the power of visual art--across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.

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