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Whether it involves remaking an old Hollywood movie, projecting a quiet 16mm film, or constructing a bombastic multi-screen environment, cinema now takes place not just in the movie theatre and the home, but also in the art gallery and the museum. The author of this engaging study takes stock of this development, offering an in-depth inquiry into its genesis, its defining features, and the ramifications it has for art and cinema alike. Through the lens of contemporary art history, she examines cinema studies' great disciplinary obsession - namely, what cinema was, is, and will become in a digital future.
Erika Balsom is lecturer in Film Studies and Liberal Arts at King's College London.
Introduction: The Othered Cinema I. Architectures of Exhibition The Passages of Cinema Projection and Patrimony Black Box/White Cube The New Blockbusters The Myth of Activity Media at MoMA II. Filmic Ruins Post-medium Post-mortem Indexing the Past A Little History of 16mm Ruinophilia Analogue Aura III. The Remake: Old Movies, New Narratives Ambivalent Appropriations The Four Operations Precursors The False Promises of the "Utopia of Use" Remaking Fandom "Room-for-Play" VCR Memories IV. The Fiction of Truth and the Truth of Fiction Anti-anti-illusionism Hybrid Forms Rehabilitating Narrative A Return of the Real Two Images of Death Conclusion: "Cinema and..."
