Ideological Fantasy on Screen, Camera and Canvas Timothy Murray. First published 1993 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or ...
Author: Timothy Murray
In this stimulating collection of theoretical writings on film, photography, and art, Timothy Murray examines relations between artistic practice, sexual and racial politics, theory and cultural studies. Like a Film investigates how the cinematic apparatus has invaded the theory of culture, suggesting that the many destabilising traumas of our culture remain accessible to us because they are structured so much like film. The book analyses the impact of cinematic perceptions and productions on awide array of cultural practices: from the Renassance works of Shakespeare and Caravaggio to modern sexual and political fantasy; and the theoretical work of Lyotard, Torok, Barthes, Ropars-Wuilleumier, Zizek, Silverman and Laplanche.Like A Film responds to current multicultural debates over the value of theory and the aim of artistic practice.
In his fascinating book Like a Film: Ideological Fantasy on Screen, Camera and Canvas, Timothy Murray investigates how cultural preoccupations and productions become legible as "cinematic 'happenings'" (5).
Author: Courtney Lehmann
Publisher: Cornell University Press
No literary figure has proved so elusive as Shakespeare. How, Courtney Lehmann asks, can the controversies surrounding the Bard's authorship be resolved when his works precede the historical birth of that modern concept? And how is it that Shakespeare remains such a powerful presence today, years after poststructuralists hailed the "death of the author"? In her cogent book, Lehmann reexamines these issues through a new lens: film theory. An alternative to literary models that either minimize or exalt the writer's creative role, film theory, in Lehmann's view, perceives authorship as a site of constitutive conflict, generating in the process the notion of the auteur. From this perspective, she offers close readings of Romeo and Juliet, A Midsummer Night's Dream, and Hamlet, of film adaptations by Kenneth Branagh, Baz Luhrmann, and Michael Almereyda, and of John Madden's Shakespeare in Love. In their respective historical contexts, these plays and films emerge as allegories of authorship, exploiting such strategies as appropriation, adaptation, projection, and montage. Lehmann explores the significance of this struggle for agency, both in Shakespeare's time and in the present day, in the cultures of early and late capitalism. By projecting film theory from the postmodern to the early modern and back again, Lehmann demonstrates the ways in which Shakespeare emerges as a special effect—indeed, as an auteur—in two cultures wherein authors fear to tread.
How is it possible to relate Kuntzel's work to the contents of Poussin's painting? New media scholar Timothy Murray, in Like a Film: Ideological Fantasy on Screen, Camera, and Canvas, interpreted Kuntzel's video installation by ...
Author: Helen Westgeest
Publisher: John Wiley & Sons
Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary art The only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space, representation, and narrative The text has emerged out of the author’s own lectures and seminars on video art Offers a comparative approach which students find especially useful, offering new perspectives
'Dirty Stills: Arcadian Retrospection, Cinematic Hieroglyphs, and Blackness Run Riot in Olivier's Othello', in Like a Film: Ideological Fantasy on Screen, Camera and Canvas. London and New York: Routledge, 1993, pp. 101–23.
Author: Hester Bradley
Publisher: Bloomsbury Publishing
This book explores Shakespeare films as interpretations of Shakespeare's plays as well as interpreting the place of Shakespeare on screen within the classroom and within the English curriculum. Shakespeare on screen is evaluated both in relation to the play texts and in relation to the realms of popular film culture. The book focuses on how Shakespeare is manipulated in film and television through the representation of violence, gender, sexuality, race and nationalism. Cartmell discusses a wide range of films, including Orson Welles' Othello (1952), Kenneth Branagh's Much Ado About Nothing (1993), Peter Greenaway's Prospero's Books (1991), Baz Luhrmann's William Shakespeare's Romeo and Juliet (1996) and John Madden's Shakespeare in Love (1998).
Murphy , William T. Robert Flaherty : A Guide to References and Resources . Boston : G. K. Hall , 1978 . Murray , T. Like a Film : Ideological Fantasy on Screen , Camera , and Canvas . London : Routledge , 1993 . Natter , Wolfgang .
Author: Tim Cresswell
Publisher: Rowman & Littlefield
Engaging Film is a creative, interdisciplinary volume that explores the engagements among film, space, and identity and features a section on the use of films in the classroom as a critical pedagogical tool. Focusing on anti-essentialist themes in films and film production, this book examines how social and spatial identities are produced (or dissolved) in films and how mobility is used to create different experiences of time and space. From popular movies such as "Pulp Fiction," "Bulworth," "Terminator 2," and "The Crying Game" to home movies and avant-garde films, the analyses and teaching methods in this collection will engage students and researchers in film and media studies, cultural geography, social theory, and cultural studies.
Eine Untersuchung der Film-Bearbeitung von Shakespeares Dramen am Beispiel ausgewählter Tragödien-Verfilmungen von ... and Blackness Run Riot in Olivier's Othello', in his Like a Film: Ideological Fantasy on Screen, Camera and Canvas.
Author: Sarah Hatchuel
Publisher: Cambridge University Press
The first volume in the re-launched series Shakespeare on Screen is devoted to Othello, offering up-to-date coverage of recent screen versions as well as new critical essays on older, canonical films. An international cast of authors explores not only productions from the USA and UK, but also translations, adaptations and appropriations in Québec, Italy, India, Brazil and Mexico. The volume takes part in the ceaseless cultural investigation of what Othello says about Shakespeare, the past and our present time, supported by an invaluable film-bibliography. Accompanying free online resources include a fuller version of the bibliography and an additional contribution on YouTube versions of Othello. This book will be a valuable resource for students, scholars and teachers of film studies and Shakespeare studies.
In Like a Film: Ideological Fantasy on Screen, Camera, and Canvas. London & New York: Routledge. Neely, Sarah (2005) “Cultural Ventriloquism: The Voice-over in Film Adaptations of Contemporary Irish and Scottish Literature.
Author: Thomas Cartelli
The past several years have witnessed a group of experiments in 'staging' Shakespeare on film. This book introduces and applies the analytic techniques and language that are required to make sense of this wave. It maps a vocabulary for interpreting Shakespeare film; addresses script-to-screen questions about authority and performativity; and more.
Murray, Timothy (1993) Like a Film: Ideological Fantasy on Screen, Camera, and Canvas. London: Routledge. Ndalianis, Angela (2004) Neo-Baroque Aesthetics and Contemporary Entertainment. Cambridge, MA: MIT Press.
Author: James Donald
Written by a team of veteran scholars and exciting emerging talents, The SAGE Handbook of Film Studies maps the field internationally, drawing out regional differences in the way that systematic intellectual reflection on cinema and film has been translated into an academic discipline. It examines the conversations between Film Studies and its contributory disciplines that not only defined a new field of discourse but also modified existing scholarly traditions. It reflects on the field's dominant paradigms and debates and evaluates their continuing salience. Finally, it looks forward optimistically to the future of the medium of film, the institution of cinema and the discipline of Film Studies at a time when the very existence of film and cinema are being called into question by new technological, industrial and aesthetic developments.
His previous books include Like a Film: Ideological Fantasy on Screen, Camera, and Canvas (1993); Drama Trauma: Specters of Race and Sexuality in Performance, Video, and Art (1997); Zonas de Contacto (1999); and the edited volume, ...
Author: Jacques Khalip
Publisher: Stanford University Press
From painting to poetry to new media technologies, this book theorizes "the image" beyond the logic of representationalism and provokes new ways of engaging topics of embodiment, agency, history, and technology.
Like a Film : Ideological Fantasy on Screen , Camera , and Canvas . London and New York : Routledge , 1993 . Natali , Maurizia . L'Image - paysage : Iconologie et cinéma . Paris : Presses Universitaires de Vin- cennes , 1996 .
Author: Angela Dalle Vacche
Publisher: Rutgers University Press
A collection of cutting-edge articles that demonstrate an implicit dialogue between art historians and film specialists. The Visual Turn is a cutting-edge dialogue between art historians and film theorists from the silent period to the aftermath of World War II. Its aim is to broaden the horizons of film studies, while making students of art history more comfortable when they approach the key texts of classical film theory. Through pairings of articles, The Visual Turn demonstrates that an implicit dialogue between art historians and film specialists has enriched both fields for decades. By combining original essays, reprints, and translations from French and Italian, The Visual Turn makes this little-known dialogue between two disciplines speak about such rich issues as: iconophobia, iconophilia, and iconoclasm; haptic and optical images; cognitivism and aesthetics; visual form, history, and technology.