Titlebook

招募

Central Bank Objectives and Autonomy,hich were extremely generative for feminist film studies), the Japanese ethnocategory of mushi (蟲), and with the contexts of second and third wave feminism, I propose that these works offer complex and imaginative social and environmental alternatives, and an alternate spatial politics, to the viewers of these presentation modes.

毀壞

Lines and Interruptions in Experimental Film and Video, in the flow of moving-image media and a technological critique. ‘Lines and Interruptions’ looks at aesthetics that reflect these two poles, as well as instances in between which undermine the binary opposition of continuity/segmentation.

縱欲

MIR

Cut to Cute: Fact, Form, and Feeling in Digital Animation, broadens to address questions of genre, affect, politics, violence, labour, gender, and finally, the aesthetics of ‘cuteness’ in animation, which they contrast with Sergei Eisenstein’s influential writings on animation, particularly his theorization of ‘plasmaticness’.

側(cè)面左右

藕床生厭倦

S. K. Chatterjee LL.M., Ph.D. (London)s on expanded forms of animation. The result is a wide-ranging set of essays which focus on specific aspects of practice, from detailed analyses of individual filmmakers’ work to consideration of some of the fundamental philosophical and aesthetic issues arising from expanded and experimental forms of animation.

Opponent

Legal Aspects of Sustainable Developmentlving figures on the walls of the city. . . is a 30-minute film by Swiss artists Peter Fischli and David Weiss which documents in a series of long takes (with carefully concealed edits) a series of home-made devices which variously decompose, fall, crash and burn to produce a chain reaction of events.

愛花花兒憤怒

Introduction,s on expanded forms of animation. The result is a wide-ranging set of essays which focus on specific aspects of practice, from detailed analyses of individual filmmakers’ work to consideration of some of the fundamental philosophical and aesthetic issues arising from expanded and experimental forms of animation.

洞察力

Analogon: Of a World Already Animated,lving figures on the walls of the city. . . is a 30-minute film by Swiss artists Peter Fischli and David Weiss which documents in a series of long takes (with carefully concealed edits) a series of home-made devices which variously decompose, fall, crash and burn to produce a chain reaction of events.

opprobrious

https://doi.org/10.1007/978-94-017-4424-9lm artists and delivered a renewed interest in a subjugated history that itself formed in 1960s youth culture. The computer’s domestication of avant-garde technique has elicited a response by this avant-garde’s contemporary successors through their continued use of film in performance, foregrounding the ‘perceptual as political’.