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Curation and Cinema.

Ditzler, Andrew.

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Curation and Cinema.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Curation and Cinema./
作者:	Ditzler, Andrew.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:	301 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-10(E), Section: A.
Contained By:	Dissertation Abstracts International76-10A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3708963
ISBN:	9781321844238

Curation and Cinema.
Ditzler, Andrew.

Curation and Cinema. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 301 p.

Source: Dissertation Abstracts International, Volume: 76-10(E), Section: A.

Thesis (Ph.D.)--Emory University, 2015.

This item is not available from ProQuest Dissertations & Theses.

From the London Film Society in the 1920s to Cinema 16 in the 1950s to a multitude of contemporary artist-run and DIY screening spaces, the independently curated film screening has historically been, and remains, a robust and underdocumented practice. Following from the root of curate, to care for, and the contemporary notion of curation as the putting together of materials for exhibition, this dissertation examines the practice of independent cinema curation.

ISBN: 9781321844238Subjects--Topical Terms:

2122736
Film studies.

Curation and Cinema.
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500 $a Source: Dissertation Abstracts International, Volume: 76-10(E), Section: A.
500 $a Adviser: Angelika Bammer.
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506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a From the London Film Society in the 1920s to Cinema 16 in the 1950s to a multitude of contemporary artist-run and DIY screening spaces, the independently curated film screening has historically been, and remains, a robust and underdocumented practice. Following from the root of curate, to care for, and the contemporary notion of curation as the putting together of materials for exhibition, this dissertation examines the practice of independent cinema curation.
520 $a As a practice, the curation of cinema has tended to slip through the cracks between commercial cinema and museums or other major institutions. At the same time, it has not been extensively theorized in either curation studies or cinema studies. Rather than recuperate this activity into one or another of these fields or institutional contexts, I argue that the strength of cinema curation is in exactly this in-between location. Artist Mike Kelley's notion of "minor history," the queer temporalities of Jose Esteban Munoz, and the "now-being" of past objects discussed by Walter Benjamin each provide a theoretical example of rethinking the possibilities of curation through cinema. Independent curators of cinema move among institutional and non-institutional settings, outside of festival models, and among the different temporalities of film durations, screening durations, and historical eras, to create uniquely configured experiences that reflect the thematic, political and structural concerns of the works shown. Instead of presenting films as objects, I argue for methods of curation that provoke a work's traces, and cinema's excess elements.
520 $a Amos Vogel's mid-century film society Cinema 16, Andy Warhol's multimedia shows with the Velvet Underground, and James Nares' television-based performance work Desirium Probe each provide a case study of moving outside the bounds of presenting films as self-contained objects and into the curation of cinematic experience. The dissertation is based in both theory and practice: each of the case studies consists of historical research and film analysis alongside a practice component in the form of public screenings or performance.
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