Post-cinema: Cinema in the Post-art Era

Review "This new addition to the series The Key Debates is a most welcome examination of the vexed question of cinema’s place in the so-called "post" era (post-medium, postcinema, post-art). Post-cinema: Cinema in the Post-art Era gathers together an impressive list of contributors, theorists as well as artists and filmmakers, whose interventions take us from discourses and practices inspired by the death of the cinema, to affirmations of its resilience, and reflections on its metamorphosis. The result is a book packed with new insights that surfs across the field of film, art, and media studies to offer brilliant reformulations of what cinema becomes." - Martine Beugnet, Professor in Visual Studies at the Paris Diderot University Product Description Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent it represents a unitary or diversified current. The book proposes to integrate the post-cinema question within the post-art question in order to study the new ways of making filmic images. The issue will be considered at three levels: the impression of post-art on "regular" films; the "relocation" (Casetti) of the same films that can be seen using devices of all kinds in conditions more or less removed from the dispositif of the theater; the integration of cinema into contemporary art in all kinds of forms of creation and exhibition, parallel to the integration of contemporary art in "regular" cinema. From the Inside Flap Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent it represents a unitary or diversified current. The book proposes to integrate the post-cinema question within the post-art question in order to study the new ways of making filmic images. The issue will be considered at three levels: the impression of post-art on "regular" films; the "relocation" (Casetti) of the same films that can be seen using devices of all kinds in conditions more or less removed from the dispositif of the theater; the integration of cinema into contemporary art in all kinds of forms of creation and exhibition, parallel to the integration of contemporary art in "regular" cinema. From the Back Cover Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent it represents a unitary or diversified current. The book proposes to integrate the post-cinema question within the post-art question in order to study the new ways of making filmic images. The issue will be considered at three levels: the impression of post-art on "regular" films; the "relocation" (Casetti) of the same films that can be seen using devices of all kinds in conditions more or less removed from the dispositif of the theater; the integration of cinema into contemporary art in all kinds of forms of creation and exhibition, parallel to the integration of contemporary art in "regular" cinema. About the Author José Moure is Professor of Cinema Studies in the Sorbonne School of the Arts at Panthéon-Sorbonne University, Paris I. He is director of the Research Institute ACTE.Dominique Chateau is Emeritus Professor of Aesthetics and Cinema at the Sorbonne School of the Arts at Panthéon-Sorbonne University, Paris I.