Cinema and experience Hansen, Miriam Bratu; Dimendberg, Edward
2011., 20110904, 2011, c2012., 2011-10-04, Volume:
44
eBook
Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno—affiliated through friendship, professional ties, and argument—developed an astute philosophical critique of modernity in which ...technological media played a key role. This book explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impressive archive of known and, in the case of Kracauer, less known materials and reveals surprising perspectives on canonic texts, including Benjamin's artwork essay. Her lucid analysis extrapolates from these writings the contours of a theory of cinema and experience that speaks to questions being posed anew as moving image culture evolves in response to digital technology.
In Diller Scofidio + Renfro: Architecture after Images, Edward Dimendberg offers the first comprehensive treatment of one of the most imaginative contemporary design studios. Since founding their ...practice in 1979, Elizabeth Diller and Ricardo Scofidio have integrated architecture, urban design, media art, and the performing arts in a dazzling array of projects, which include performances, art installations, and books, in addition to buildings and public spaces. At the center of this work is a fascination with vision and a commitment to questioning the certainty and security long associated with architecture. Dimendberg provides an extensive overview of these concerns and the history of the studio, revealing how principals Elizabeth Diller, Ricardo Scofidio, and Charles Renfro continue to expand the definition of architecture, question the nature of space and vision in contemporary culture, and produce work that is endlessly surprising and rewarding, from New York's High Line to Blur, an artificial cloud, and Facsimile, a video screen that moves around a building facade. Dimendberg also explores the relation of work by DS+R to that by earlier modernists such as Marcel Duchamp and John Hejduk. He reveals how the fascination of the architects with evolving forms of media, technology, and building materials has produced works that unsettle distinctions among architecture and other media. Based on interviews with the architects, their clients, and collaborators as well as unprecedented access to unpublished documents, sketchbook entries, and archival records, Diller Scofidio + Renfro is the most thorough consideration of DS+R in any language.Illustrated with many previously unpublished renderings in addition to photos from significant contemporary photographers, this book is an essential study of one of the most significant and creative architecture and design studios working today.
Film noir remains one of the most enduring legacies of 1940s and '50s Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life ...during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity--particularly the urban landscape.The originality of Dimendberg's approach lies in his examining these films in tandem with historical developments in architecture, city planning, and modern communications systems. He confirms that noir is not simply a reflection of modernity but a virtual continuation of the spaces of the metropolis. He convincingly shows that Hollywood's dark thrillers of the postwar decades were determined by the same forces that shaped the city itself. Exploring classic examples of film noir such as The Asphalt Jungle, Double Indemnity, Kiss Me Deadly, and The Naked City alongside many lesser- known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper, Siegfried Kracauer, and Henri Lefebvre. A bold intervention in cultural studies and a major contribution to film history, Film Noir and the Spaces of Modernity will provoke debate by cinema scholars, urban historians, and students of modern culture--and will captivate admirers of a vital period in American cinema.
Film noir remains one of the most enduring legacies of 1940s and
'50s Hollywood. Populated by double-crossing, unsavory characters,
this pioneering film style explored a shadow side of American life
...during a period of tremendous prosperity and optimism. Edward
Dimendberg compellingly demonstrates how film noir is preoccupied
with modernity--particularly the urban landscape. The originality
of Dimendberg's approach lies in his examining these films in
tandem with historical developments in architecture, city planning,
and modern communications systems. He confirms that noir is not
simply a reflection of modernity but a virtual continuation of the
spaces of the metropolis. He convincingly shows that Hollywood's
dark thrillers of the postwar decades were determined by the same
forces that shaped the city itself. Exploring classic examples of
film noir such as The Asphalt Jungle , Double
Indemnity , Kiss Me Deadly , and The Naked
City alongside many lesser-known works, Dimendberg masterfully
interweaves film history and urban history while perceptively
analyzing works by Raymond Chandler, Edward Hopper, Siegfried
Kracauer, and Henri Lefebvre. A bold intervention in cultural
studies and a major contribution to film history, Film Noir and
the Spaces of Modernity will provoke debate by cinema
scholars, urban historians, and students of modern culture--and
will captivate admirers of a vital period in American cinema.
The Practical Past White, Hayden; Dimendberg, Ed
09/2014, Volume:
17
eBook
Hayden White borrows the title forThe Practical Pastfrom philosopher Michael Oakeshott, who used the term to describe the accessible material and literary-artistic artifacts that individuals and ...institutions draw on for guidance in quotidian affairs.The Practical Past, then, forms both a summa of White's work to be drawn upon and a new direction in his thinking about the writing of history.White's monumentalMetahistory: The Historical Imagination in Nineteenth-Century Europe(1973) challenged many of the commonplaces of professional historical writing and wider assumptions about the ontology of history itself. It formed the basis of his argument that we can never recover "what actually happened"in the past and cannot really access even material culture in context. Forty years on, White sees "professional history" as falling prey to narrow specialization, and he calls upon historians to take seriously the practical past of explicitly "artistic" works, such as novels and dramas, and literary theorists likewise to engage historians.
Clyfford Still Dimendberg, Edward
Burlington magazine,
02/2015, Volume:
157, Issue:
1343
Journal Article
Review of the exhibition "The War Begins: Clyfford Still's Path to Abstraction" on show at the Clyfford Still Museum, Denver (10 Oct. 2014-18 Jan. 2015), featuring 65 paintings by the American artist ...(1904-80).
The exhibition "The war begins : Clyfford Still's paths to abstraction" at the Clyfford Still Museum in Denver, Colorado, to January 18, 2015, is reviewed. It featured 65 of his paintings.
The Fish That Knew Water Dimendberg, Edward
New German critique,
2014, Volume:
41, Issue:
2
Journal Article
These short statements were presented in the roundtable discussion held at the September 2012 Columbia University conference dedicated to Miriam Hansen, “Cinema and the Legacies of Critical Theory.” ...The discussion was moderated by Eric Rentschler; the panelists included Heide Schlüpmann, Susan Buck-Morss, Anton Kaes, Edward Dimendberg, D. N. Rodowick, and Laura Mulvey.
The Object of the Atlanticis a wide-ranging study of the transition from a concern with sovereignty to a concern with things in Iberian Atlantic literature and art produced between 1868 and 1968. ...Rachel Price uncovers the surprising ways that concrete aesthetics from Cuba, Brazil, and Spain drew not only on global forms of constructivism but also on a history of empire, slavery, and media technologies from the Atlantic world. Analyzing Jose Marti's notebooks, Joaquim de Sousandrade's poetry, Ramiro de Maeztu's essays on things and on slavery, 1920s Cuban literature on economic restructuring, Ferreira Gullar's theory of the "non-object," and neoconcrete art, Price shows that the turn to objects-and from these to new media networks-was rooted in the very philosophies of history that helped form the Atlantic world itself.
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