Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Spaceoffers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for todays film editors, motion designers, and other media artists.
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ix | |
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1 | (18) |
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3 | (2) |
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The "Image Animation Problem" |
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5 | (3) |
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8 | (1) |
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9 | (1) |
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10 | (4) |
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14 | (5) |
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19 | (32) |
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22 | (4) |
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26 | (2) |
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28 | (7) |
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35 | (3) |
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38 | (7) |
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45 | (6) |
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51 | (14) |
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52 | (3) |
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Multiple Image Compositions |
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55 | (1) |
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55 | (1) |
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Limited Scope in Manovich's Theorization |
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56 | |
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57 | (14) |
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65 | (50) |
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Time---Motion---Space Displacement |
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66 | (4) |
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Motion---Space Displacement (Mirroring) |
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70 | (14) |
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Time---Space Displacement |
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84 | (20) |
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Time---Motion Displacement (Step-Printing) |
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104 | (7) |
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111 | (4) |
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115 | (8) |
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Commercial and Noncommercial Forms |
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117 | (2) |
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119 | (4) |
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123 | (42) |
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Semiotics of Morphology and Structure |
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125 | (1) |
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126 | (36) |
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162 | (3) |
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165 | |
Michael Betancourt, Ph.D. is an artist, historian, theorist, and professor at the Savannah College of Art and Design in Savannah, Georgia. He is the author of The ____________Manifesto, The History of Motion Graphics, and The Critique of Digital Capitalism. Michael has exhibited internationally, and his work has been translated into Chinese, French, Greek, Italian, Japanese, Persian, Portuguese, and Spanish.
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