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The Moving Image Review & Art Journal - MIRAJ 5.1+2 The Moving Image Review & Art Journal - MIRAJ 5.1+2

The Moving Image Review & Art Journal (MIRAJ) is the first international peer-reviewed scholarly publication devoted to artists’ film and video, and its contexts. 

The Moving Image Review & Art Journal (MIRAJ) is the first international peer-reviewed scholarly publication devoted to artists’ film and video, and its contexts. 

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The Moving Image Review & Art Journal (MIRAJ) is the first international peer-reviewed scholarly publication devoted to artists’ film and video, and its contexts. It offers a forum for debates surrounding all forms of artists’ moving image and media artworks: films, video installations, expanded cinema, video performance, experimental documentaries, animations, and other screen-based works made by artists. MIRAJ aims to consolidate artists’ moving image as a distinct area of study that bridges a number of disciplines, not limited to, but including art, film, and media.

 

Table of Content - Volume 5 Issues 1 & 2

EditorialThe ‘shifting ground of identification’...

ARTICLES

Their satanic majesties’ movies: The Rolling Stones in cinema - David E. James

The interval and the instant: Inscribing death and dying - Steven Eastwood

Much ado about medium: Greenberg, McLuhan, and the formalist problem in early video criticism in New York - Liz Kim

Reading the morphology of Ben Rivers’s chemical landscapes - Patrick Tarrant

1970s British experimental film: Images in shadows and light - Patti Gaal-Holmes

Expanded cinema: Notes on twentieth-century encounters with art, science and technology - Chris Welsby

Deictic transformers: Phenomenological analyses of time-shifts in video art installations - Nevena Ivanova

Projective art and the ‘staging’ of empathic projection - Ken Wilder

A brief history of the dancer/camera relationship - Christopher Lewis-Smith

FEATURES

Hiding in plain sight: Recognition and resistance in recent queer artists’ moving image - Laura Guy

Melanie Manchot in conversation with Pratap Rughani: London College of Communication, 10 June 2015 - Melanie Manchot and Pratap Rughani

Jennet Thomas in conversation with Kyran Joughin: 25 January 2016, Nunhead, London - Jennet Thomas and Kyran Joughin

REWIND researchers Stephen Partridge and Adam Lockhart in conversation with Maeve Connolly: Archiving Irish and British Artists’ Video - Stephen Partridge, Adam Lockhart and Maeve Connolly

Karen Mirza and Brad Butler in conversation with Andrew Vallance: ‘We are living in a utopia – it’s just not ours’, no.w.here, 2 June 2015 - Karen Mirza, Brad Butler and Andrew Vallance

REVIEW ARTICLES

The Inoperative Community, Raven Row, London, 3 December 2015 to 14 February 2016 - Catherine Elwes

Pastoral Idyll: Guy Sherwin’s Paper Landscape - Dan Hays

Feminisms: Diversity, Difference and Multiplicity in Contemporary Film Cultures, Laura Mulvey and Anna Backman Rogers (eds) (2015) - Maria Walsh

Video Void, Australian Video Art, Matthew Perkins (ed.) (2014) - Steven Ball

Installation and the Moving Image, Catherine Elwes (2015) - Kim Knowles

‘Electronic Superhighway’, curated by Omar Kholeif - Paul O’Kane

The Moving Image Review & Art Journal (MIRAJ) is the first international peer-reviewed scholarly publication devoted to artists’ film and video, and its contexts. It offers a forum for debates surrounding all forms of artists’ moving image and media artworks: films, video installations, expanded cinema, video performance, experimental documentaries, animations, and other screen-based works made by artists. MIRAJ aims to consolidate artists’ moving image as a distinct area of study that bridges a number of disciplines, not limited to, but including art, film, and media.

 

Table of Content - Volume 5 Issues 1 & 2

EditorialThe ‘shifting ground of identification’...

ARTICLES

Their satanic majesties’ movies: The Rolling Stones in cinema - David E. James

The interval and the instant: Inscribing death and dying - Steven Eastwood

Much ado about medium: Greenberg, McLuhan, and the formalist problem in early video criticism in New York - Liz Kim

Reading the morphology of Ben Rivers’s chemical landscapes - Patrick Tarrant

1970s British experimental film: Images in shadows and light - Patti Gaal-Holmes

Expanded cinema: Notes on twentieth-century encounters with art, science and technology - Chris Welsby

Deictic transformers: Phenomenological analyses of time-shifts in video art installations - Nevena Ivanova

Projective art and the ‘staging’ of empathic projection - Ken Wilder

A brief history of the dancer/camera relationship - Christopher Lewis-Smith

FEATURES

Hiding in plain sight: Recognition and resistance in recent queer artists’ moving image - Laura Guy

Melanie Manchot in conversation with Pratap Rughani: London College of Communication, 10 June 2015 - Melanie Manchot and Pratap Rughani

Jennet Thomas in conversation with Kyran Joughin: 25 January 2016, Nunhead, London - Jennet Thomas and Kyran Joughin

REWIND researchers Stephen Partridge and Adam Lockhart in conversation with Maeve Connolly: Archiving Irish and British Artists’ Video - Stephen Partridge, Adam Lockhart and Maeve Connolly

Karen Mirza and Brad Butler in conversation with Andrew Vallance: ‘We are living in a utopia – it’s just not ours’, no.w.here, 2 June 2015 - Karen Mirza, Brad Butler and Andrew Vallance

REVIEW ARTICLES

The Inoperative Community, Raven Row, London, 3 December 2015 to 14 February 2016 - Catherine Elwes

Pastoral Idyll: Guy Sherwin’s Paper Landscape - Dan Hays

Feminisms: Diversity, Difference and Multiplicity in Contemporary Film Cultures, Laura Mulvey and Anna Backman Rogers (eds) (2015) - Maria Walsh

Video Void, Australian Video Art, Matthew Perkins (ed.) (2014) - Steven Ball

Installation and the Moving Image, Catherine Elwes (2015) - Kim Knowles

‘Electronic Superhighway’, curated by Omar Kholeif - Paul O’Kane

Additional Info

Additional Info

SKU 9772045629003
Subtitle MIRAJ
Publisher(s) Intellect
Editor(s) Catherine Elwes, Erika Balsom, Colin Perry
Format Paperback
Original publication date November 2016
Number of pages 296 pages including illustrations

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