Beginning in the late 1970s, a number of visual artists in downtown New York City returned to an exploration of the cinematic. They engaged cinematic movement, time, and the body in their work, and they did so across mediums, utilizing not only film, but sculpture, drawing, photography, and performance. This cinematic impulse was evident in the high art of Jack Goldstein, Robert Longo, and Cindy Sherman, in the film practices of 'No Wave' filmmakers Amos Poe and Vivienne Dick, and in the feature films of Kathryn Bigelow. Vera Dika considers the work within a greater cultural context and probes for a deeper understanding of the practice.
Beginning in the late 1970s, a number of visual artists in downtown New York City returned to an exploration of the cinematic. They engaged cinematic movement, time, and the body in their work, and they did so across mediums, utilizing not only film, but sculpture, drawing, photography, and performance. This cinematic impulse was evident in the high art of Jack Goldstein, Robert Longo, and Cindy Sherman, in the film practices of 'No Wave' filmmakers Amos Poe and Vivienne Dick, and in the feature films of Kathryn Bigelow. Vera Dika considers the work within a greater cultural context and probes for a deeper understanding of the practice.
Sound for Moving Pictures presents a new and original sound design theory called the Four Sound Areas framework, offering a conceptual template for constructing, deconstructing and communicating all...
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and...
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