Christa Blümlinger

zur Ästhetik materieller Aneignung im Film und in der Medienkunst

Kino aus zweiter Hand

Karl Sierek

Das Gesicht im Zeitalter des bewegten Bildes

English summary: Secondhand cinema, Cinema de seconde main, explores this choice of artistic expression which reuses archival images and films, one that refers to the past but also can be understood as a living act. This work defines the new configurations of forms and meanings offered through archival cinema use by artists and cinematographers such as Harun Farocki, Morgan Fisher, Jean-Luc Godard, Ken Jacobs, Alexander Kluge, Chris Marker, Bill Morrison, Matthias Muller, Al Razutis, and Peter Tscherkassky. French description: Nee du montage cinematographique, la reprise d'images animees est devenue une pratique quotidienne a l'age des techniques de reproduction numerique. Choix revendique et pratique artistique, le remploi pose depuis toujours la question de la puissance esthetique et epistemique du cinema. Ce livre s'interesse a un art d'archives contemporain, se rapportant certes au passe, mais qui peut etre compris sous ses differentes formes comme un acte vivant - de lecture, de transformation ou d'incorporation des images. Le film artistique d'archives, que ce soit dans la tradition avant-gardiste du found footage ou comme remontage essayiste, vise toujours a modifier, reelaborer, transcrire, arranger: par la repetition, il recherche l'originalite d'images et de sons nouveaux. Cette etude part d'un concept processuel de l'archive a travers le cinema et les nouveaux medias, et tente de degager la dynamique multiple des elaborations secondaires. Cinema de seconde main entreprend de definir de nouvelles configurations dans le deplacement des formes et des significations, et egalement au niveau de la mutation des dispositifs. Il s'appuie sur des analyses detaillees de films et d'installations d'artistes et de cineastes (Harun Farocki, Morgan Fisher, Yervant Gianikian & Angela Ricci Lucchi, Jean-Luc Godard, Ken Jacobs, Alexander Kluge, Chris Marker, Bill Morrison, Matthias Muller, Lisl Ponger, Al Razutis, Constanze Ruhm, Peter Tscherkassky), et contribue de facon decisive aux debats actuelsqui animent les etudes cinematographiques et les theories de l'art.

esthétique du remploi dans l'art du film et des nouveaux médias

Cinéma de seconde main

Anne Morin

This full-career retrospective on the work of photographer Vivian Maier brings together a selection of key works from throughout her life and career. When Vivian Maier’s archive was discovered in Chicago in 2007, the photography community gained an immense and singular talent. Little- known during her lifetime, Maier is now recognized as one of the great American photographers of the twentieth century. Born in New York in 1926 to an Austro-Hungarian father and French mother, she lived in France several times in her youth and worked as a governess in New York and Chicago for much of her adult life. It was during her years as a governess that she took many of the photographs that have made her posthumously famous. Now the subject of films and books, Maier lived in relative obscurity until her death in 2009. Maier’s incredible body of work consists of more than 150,000 photographic images, super 8 and 16 mm films, various recordings, and a multitude of undeveloped films. Working primarily as a street photographer, Maier’s work has been compared with such luminaries as Helen Levitt, Robert Frank, Diane Arbus, and Joel Meyerowitz. Thanks to unpublished archives and recent scientific analyses, this retrospective volume sheds new light on Maier’s work as it documents the artistry of her photographic oeuvre. With texts by Anne Morin and Christa Blu¨mlinger, this detailed look at Maier’s entire archive is organized thematically into sections that cover self-portraits, the street, portraits, gestures, cinematography, children, color work, and forms. A valuable addition to the continuing assessment of Maier’s work, this book is a one- volume compendium of her most enduring images.

Vivian Maier

Ruth Beckermann

fragmente einer Geschichte des österreichischen Kinos

Ohne Untertitel

Sylvie Lindeperg

Michèle Lagny

Sylvie Rollet

"Consacré aux relations entre paysages et mémoire élaborées par le cinéma, les installations vidéo et la photographie, ce livre s'inscrit dans le prolongement d'une première publication, Théâtres de la mémoire. Mouvement des images (PSN, 2010), qui analyse, dans une perspective socio-historique et esthétique, la manière dont 'l'écriture' audiovisuelle permet de repenser le lien complexe entre images mémorielles et documents.

cinéma, photographie, dispositifs audiovisuels

Paysages et mémoire

Harun Farocki

ABCs of the essay film

Christa Blümlinger

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