第 1/1 張圖片
圖片庫
第 1/1 張圖片
有類似物品要出售？
Artificial Darkness: An Obscure History of Modern Art and Media, Elcott, Noam M.
US $30.21
大約HK$ 235.10
或講價
狀況：
“Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may ”... 閱讀更多內容關於物品狀況
良好
曾被閱讀過的書籍，但狀況良好。封面有諸如磨痕等在內的極少損壞，但沒有穿孔或破損。精裝本書籍可能沒有書皮。封皮稍有磨損。絕大多數書頁未受損，存在極少的褶皺和破損。使用鉛筆標注文字處極少，未對文字標記，無留白處書寫文字。沒有缺頁。
Oops! Looks like we're having trouble connecting to our server.
Refresh your browser window to try again.
運送：
免費 Economy Shipping.
所在地：Harrisburg, Pennsylvania, 美國
送達日期：
估計於 10月14日 (星期二)至 10月18日 (星期六)之間送達 運送地點 94104
退貨：
30 日退貨. 由買家支付退貨運費，如果你使用 eBay 郵寄標籤，相關費用將從你的退款金額中扣除.
保障：
請參閱物品說明或聯絡賣家以取得詳細資料。閱覽全部詳情查看保障詳情
（不符合「eBay 買家保障方案」資格）
安心購物
物品細節
- 物品狀況
- 良好
- 賣家備註
- ISBN
- 9780226597751
關於產品
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
022659775X
ISBN-13
9780226597751
eBay Product ID (ePID)
17038258580
Product Key Features
Number of Pages
312 Pages
Publication Name
Artificial Darkness : an Obscure History of Modern Art and Media
Language
English
Subject
Techniques / General, History / Modern (Late 19th Century to 1945), History / Contemporary (1945-), History, Film / History & Criticism
Publication Year
2018
Type
Textbook
Subject Area
Art, Performing Arts, Photography
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
33.6 Oz
Item Length
10 in
Item Width
7 in
Additional Product Features
Intended Audience
Scholarly & Professional
Reviews
'This century belongs to the light,' exclaims Lázsló Moholy-Nagy in 1927 a propos photography and cinema, echoing other avant-garde artists from Frederick Kiesler to the Lumière brothers. Artificial Darkness shows that the inverse is also true, namely, that the age of light also belongs to darkness, and that, by delving into one, one finds oneself inexorably in the other., Elcott tells the story of what must remain invisible so that the optical and acoustic arts of modernity can exist. Artificial Darkness provides us with thrilling insights about the dark side of media history, demonstrating that images and sounds in the late nineteenth and early twentieth centuries were not related to formlessness as nothingness, but rather to darkness as technical form. From the moment you begin reading, you know that this is the book we have always needed. An astonishing expedition by an author whose scholarship and perspicacity offer unequaled opportunities, Artificial Darkness reveals the common background of modern art and media history., Elcott's reference to a vast collection of archival resources is a major strength of his study. His ability to weave through a dizzying array of data--architectural plans for Wagner's theaters, blueprints for dark chambers, 17th century illustrations, silent films, artistic sketches, and others--reflects his intellectual ambition to trace the historical emergence of artificial darkness. Rather than focusing on specific components of cinema, Elcott draws our attention to recurring tropes--the disciplining of the body, physical dismemberment (of both the male and female bodies), and 'spacelessness'--across technologies of artificial darkness., Artificial Darkness is a book about cinema. It is not about film or even about projectors. It defines the cinematic as per its title, a dispositif of darkness that allows for transformation. . . . Elcott shows how art can turn technics to its advantage, by making room for play at the very heart of technics., Elcott's work is of importance to anyone concerned for the future of art and media as a project which lies in developing an archaeology of the present out of the artifice of the past., 'This century belongs to the light,' exclaims Lzsl Moholy-Nagy in 1927 a propos photography and cinema, echoing other avant-garde artists from Frederick Kiesler to the Lumire brothers. Artificial Darkness shows that the inverse is also true, namely, that the age of light also belongs to darkness, and that, by delving into one, one finds oneself inexorably in the other., Breaking down the barriers between disciplines and mediums, Artificial Darkness constructs and questions an object that had never really been detected before: modern controlled darkness. Spanning photography, cinema, theater, and entertainment, this is a deep read and highly enlightening transdisciplinary journey into early modernist artistic practices., Elcott's book is essential reading for scholars of film and modernism, particularly those tired of essentialist or medium-specific discourses. Its beautiful illustrations, so well suited to black-and-white reproduction, appear as revelations of a forgotten and seductive past... Artificial Darkness argues compellingly for a suppressed history of the importance of darkness in its earliest days and points to its covert presence in our future., [This] thorough text is beautifully illustrated with the ghosts conjured with magic lanterns in Étienne-Gaspard Robert's 19th-century phantasmagoria, 'Black Art' shows from the 1890s when skeletons hovered in inky space, held aloft by hidden performers, and Georges Méliès's early 20th-century films that conjured fantastic illusions through dark screens, such as making heads of actors disappear., Brilliantly researched and stunningly argued. . . . The book . . . cut[s] across . . . diverse creative fields with the same elegance and erudition with which it takes on a whole range of academic disciplines., Elcott's account of artificial darkness takes the reader on an intriguing tour into the dark corners of early modernism, even if some of these recesses seem a little impenetrable. The book asks the existential, and perhaps nostalgic, question: 'How does one best live in a world of images?', Cinema consists of focused projected light, but Elcott shows that it craves the darkness. His investigation of the darkened theater, the role of darkness in creating optical magical illusion, and the modernist discovery of the anti-representational power of darkness show how cinema's passion for darkness became a major figure of twentieth-century culture., In Artificial Darkness Elcott delivers further inspiration to those experimentalists interested in early cinema as he adds new marvels to the canon beyond the magic lantern performances of the Phantasmagoria and the shadow plays performed at Le Chat Noir. To this reader's delight, the author also reveals the curious fact that occasionally shadows were even antithetical to certain early filmmaking techniques., A pioneering look at the phenomenon of artificial darkness as a controlled condition and at its applications in art and film., Groundbreaking and revisionist. . . . Artificial Darkness will be essential reading. . . Elcott's study should speak to those who consider photography or film's shadows and dark spaces in whatever period; to those who consider how bodies occupy, and are perceived to occupy, space; and indeed, to all scholars of the interplay between the visible and the invisible in visual culture., Delving deep into the modern artifice of manufactured darkness, Elcott mines the mechanisms of constructed blackness and technologies of the invisible that developed in the late-19th and early-20th centuries into new means of expression and ambience in the visual and performing arts. . . . Highly Recommended., Elcott's mining of what Roland Barthes declared the 'cinematic condition'--the urge to disappear into an 'anonymous, indifferent cube of darkness'--proves enlightening., Theoretically astute, historically rigorous, and visually precise, Artificial Darkness sets a standard for film and media scholarship while also making extremely significant and original contributions to fields such as art history, the history of science, and theater studies. Elcott's research is subtle and meticulous, and his ability to embed and web his vast and complex archival discoveries into a swiftly moving and lucid narrative is truly impressive. This is a model of interdisciplinary work., [This] thorough text is beautifully illustrated with the ghosts conjured with magic lanterns in tienne-Gaspard Robert's 19th-century phantasmagoria, 'Black Art' shows from the 1890s when skeletons hovered in inky space, held aloft by hidden performers, and Georges Mlis's early 20th-century films that conjured fantastic illusions through dark screens, such as making heads of actors disappear.
Dewey Edition
23
Illustrated
Yes
Dewey Decimal
709.04
Table Of Content
Acknowledgments Introduction 1. Artificial Darkness 2. Dark Theaters 3. Black Screens 4. The Black Art of Georges Méliès 5. Spaceless Play: Oskar Schlemmer's Dance against Enlightenment Coda: Historical Darknesses Notes Index
Synopsis
Darkness has a history and a uniquely modern form. Distinct from night, shadows, and artificial light, "artificial darkness" has been overlooked--until now. In fact, controlled darkness was essential to the rise of photography and cinema, science and spectacle, and a century of advanced art and film. Artificial Darkness is the first book to historicize and theorize this phenomenon and map its applications across a range of media and art forms. In exploring how artificial darkness shaped modern art, film, and media, Noam M. Elcott addresses seminal and obscure works alongside their sites of production--such as photography darkrooms, film studios, and laboratories--and their sites of reception, including theaters, cinemas, and exhibitions. He argues that artists, scientists, and entertainers like tienne-Jules Marey, Richard Wagner, Georges M li s, and Oskar Schlemmer revolutionized not only images but also everything surrounding them: the screen, the darkness, and the experience of bodies and space. At the heart of the book is "the black screen," a technology of darkness that spawned today's blue and green screens and has undergirded numerous advanced art and film practices to this day. Turning familiar art and film narratives on their heads, Artificial Darkness is a revolutionary treatment of an elusive, yet fundamental, aspect of art and media history., Darkness has a history and a uniquely modern form. Distinct from night, shadows, and artificial light, "artificial darkness" has been overlooked--until now. In fact, controlled darkness was essential to the rise of photography and cinema, science and spectacle, and a century of advanced art and film. Artificial Darkness is the first book to historicize and theorize this phenomenon and map its applications across a range of media and art forms. In exploring how artificial darkness shaped modern art, film, and media, Noam M. Elcott addresses seminal and obscure works alongside their sites of production--such as photography darkrooms, film studios, and laboratories--and their sites of reception, including theaters, cinemas, and exhibitions. He argues that artists, scientists, and entertainers like Étienne-Jules Marey, Richard Wagner, Georges Méliès, and Oskar Schlemmer revolutionized not only images but also everything surrounding them: the screen, the darkness, and the experience of bodies and space. At the heart of the book is "the black screen," a technology of darkness that spawned today's blue and green screens and has undergirded numerous advanced art and film practices to this day. Turning familiar art and film narratives on their heads, Artificial Darkness is a revolutionary treatment of an elusive, yet fundamental, aspect of art and media history.
LC Classification Number
NX650.S55E43 2018
賣家提供的物品說明
賣家信用評價 （206,869）
- Automatische feedback van eBay- 買家留下的信用評價。過去 1 個月Bestelling op tijd geleverd zonder problemen
- a***n (94)- 買家留下的信用評價。過去 1 個月購買已獲認證Brand new…binding still stiff. Excellent packaging … fast response…will try to do more biz with store.
- e***s (258)- 買家留下的信用評價。過去 1 個月購買已獲認證My book was unfortunately damaged during shipping, but seller was very courteous and quickly resolved it! Thanks so much, I really appreciate it.
賣家信用評價 （206,869）
- Automatische feedback van eBay- 買家留下的信用評價。過去 1 個月Bestelling op tijd geleverd zonder problemen
- a***n (94)- 買家留下的信用評價。過去 1 個月購買已獲認證Brand new…binding still stiff. Excellent packaging … fast response…will try to do more biz with store.
- e***s (258)- 買家留下的信用評價。過去 1 個月購買已獲認證My book was unfortunately damaged during shipping, but seller was very courteous and quickly resolved it! Thanks so much, I really appreciate it.