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oapen-20.500.12657-876742024-03-28T14:03:17Z Spaces Christie, Ian Spacial art, screen media, virtual reality, film viewing, temporal art thema EDItEUR::A The Arts::AF The Arts: art forms::AFK Non-graphic and electronic art forms::AFKV Digital, video and new media arts Film has long been defined as a temporal art, most famously by André Bazin and Andrei Tarkovsky. Yet more fundamentally it has always been a spatial art, transporting its audiences imaginatively to spaces and places other than those they literally inhabit. In the digital era, this spatial illusion and paradox has been greatly expanded – by the predominance of domestic film viewing, along with new extra-terrestrial perspectives, and the promise of novel kinesthetic experiences with Virtual Reality and “immersion”. The international authors in this collection address the history and aesthetics of screen media as spatial transposition, in a range of exemplary analyses that run from the landscapes of John Ford’s westerns to Chantal Akerman’s claustrophobic domestic spaces, from the conventions of the English country house film to Patrick Keiller’s Robinson roaming a changed country, and from the experiences of Covid pandemic confinement to those of un-homed van-dwellers in Chloe Zhao’s award-winning NOMADLAND. 2024-02-14T11:03:00Z 2024-02-14T11:03:00Z 2024 book 9789048563265 https://library.oapen.org/handle/20.500.12657/87674 eng The Key Debates: Mutations and Appropriations in European Film Studies application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9789048563272.pdf Amsterdam University Press 10.5117/9789048563265 10.5117/9789048563265 dd3d1a33-0ac2-4cfe-a101-355ae1bd857a 9789048563265 9 224 Amsterdam open access
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Film has long been defined as a temporal art, most famously by André Bazin and Andrei Tarkovsky. Yet more fundamentally it has always been a spatial art, transporting its audiences imaginatively to spaces and places other than those they literally inhabit. In the digital era, this spatial illusion and paradox has been greatly expanded – by the predominance of domestic film viewing, along with new extra-terrestrial perspectives, and the promise of novel kinesthetic experiences with Virtual Reality and “immersion”. The international authors in this collection address the history and aesthetics of screen media as spatial transposition, in a range of exemplary analyses that run from the landscapes of John Ford’s westerns to Chantal Akerman’s claustrophobic domestic spaces, from the conventions of the English country house film to Patrick Keiller’s Robinson roaming a changed country, and from the experiences of Covid pandemic confinement to those of un-homed van-dwellers in Chloe Zhao’s award-winning NOMADLAND.
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