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Libros sobre el tema "ANNI VIDEO"

Autor: Grafiati
Publicado: 10 de marzo de 2023

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1

Oppo, Maria Novella. Fronte del video: Dieci anni di racconti televisivi. Milano: Lupetti, 2010.

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2

Rickards, Marco Accordi. Storia del videogioco: Dagli anni Cinquanta a oggi. Roma: Carocci editore, 2014.

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3

Tozzi, Maurizio Marco. La videoarte italiana: Dagli anni '70 ad oggi. Ravenna: Danilo Montanari editore, 2016.

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4

Marino, Bruno Di. Clip: 20 anni di musica in video, 1981-2001. Roma: Castelvecchi, 2001.

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5

Medium senza medium: Amnesia e cannibalizzazione : il video dopo gli anni Novanta. Roma: Bulzoni editore, 2015.

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6

Malvezzi, Jennifer. Remedi-Action: Dieci anni di videoteatro italiano. Milano: Postmedia books, 2015.

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7

editor, Meneguzzo Marco, Dorfles Gillo 1910-2018 y Fondazione Mudima, eds. Fabrizio Plessi: Gli anni Settanta. Milano: Mudima, 2014.

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8

L'immagine politica: Forme del contropotere tra cinema, video e fotografia nell'Italia degli anni Settanta. Milano: Mimesis, 2015.

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9

Doppio schermo: Film e video d'artista in Italia dagli anni '60 a oggi. Cesena]: Manfredi edizioni, 2017.

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10

l'Attico, Galleria, Umbria (Italy) y Chiesa di San Nicolò (Spoleto, Italy), eds. L' Attico, 1957-1987: 30 anni di pittura, scultura, musica, danza, performance, video. Milano: A. Mondadori, 1987.

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11

Capaci, Filippo Bacci di. Arcadia e Apocalisse: Paessaggi italiani in 150 anni di arte, fotografia, video e installazioni. Pontedera (Pisa): Bandecchi & Vivaldi, 2019.

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12

Sambuy, Filippo Di. Tableau vivant: O allegoria irreale degli ultimi sette anni della mia vita artistica. [Italy]: F.lli Pozzo, 1998.

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13

Kathleen, Bühler, Fetzer Fanni y Kunsthaus Langenthal, eds. Anne-Julie Raccoursier: Loop line. Langenthal: Kunsthaus Langenthal, 2011.

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14

1965-, Cleary Anne, Doan Thi Bich, Glon Marie, Venet Muriel y Normoyle Karen, eds. Denis Connolly + Anne Cleary: Past + presence. Kinsale: Gandon Editions, 2007.

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15

Wayne, Tunnicliffe y Art Gallery of New South Wales., eds. Anne Landa Award for video and new media arts. Sydney, N.S.W: Art Gallery of New South Wales, 2004.

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16

Griffiths, Clive Malcolm. Videomusic: I nostri anni '80. Massa: Eclettica edizioni, 2022.

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17

Josias, Anthea. Mayibuye Centre film and video collection. Bellville: University of the Western Cape, 1994.

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18

Lynn, Victoria. Double take: Anne Landa Award for video & new media arts 2009. Editado por Art Gallery of New South Wales. Sydney: Art Gallery of New South Wales, 2009.

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19

Adrian, Martin, Art Gallery of New South Wales y Christchurch Art Gallery, eds. Unguided tours: Anne Landa Award for video & new media arts 2011. Sydney: Art Gallery of New South Wales, 2011.

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20

Konik, Anna. Anna Konik: Ziarno piasku w źrenicy oka : wideoinstalacje 2000-2015 = A grain of sand in the pupil of the eye : video works 2000-2015. Warszawa: Centrum Sztuki Współczesnej Zamek Ujazdowski, 2016.

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21

Quirynen, Anne. Anne Quirynen, Videos und Installationen: Reflections into a thousand pieces. Berlin: Revolver Publishing, 2015.

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22

group), Airanzu (Cartographer. Kigeki eiga meisaku annai: Bideo de tanoshimu 125-hon. Tōkyō: Shōbunsha, 1995.

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23

Palpiti d'amor di patria a Bagni di Lucca negli anni che videro il compimento dell'unità d'Italia. Lucca: M. Pacini Fazzi, 2011.

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24

Pugliese, Anna Maria. Anna Maria Pugliese: Quoad vides? : il bel vedere come estetica dello sguardo. [Naples]: Electa Napoli, 2003.

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25

Art Gallery of New South Wales. Anne Landa Award for video and new media arts: Art Gallery of New South Wales, 17 November 06-11 February 07. Sydney, N.S.W: Art Gallery of New South Wales, 2006.

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26

Hans, Vogel. Wacht maar tot ik dood ben: Annie M.G. Schmidt : haar leven en werk voor theater, radio en tv. Amsterdam: Theater Instituut Nederland, 2000.

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27

O'Neill, Jane. The world of the Brontës: The lives, times and works of Charlotte, Emily and Anne Brontë. Vancouver: Raincoast Books, 1997.

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28

The world of the Brontës: The lives, times and works of Charlotte, Emily and Anne Brontë. London: Carlton, 1997.

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29

Day, Walter. Twin Galaxies' Official Video Game & Pinball Book Of World Records; Second Edition, Arcade Volume. Editado por Walter Day y Mr Kelly R. Flewin. Fairfield, IA: 1st World Publishing, 2007.

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30

1778-1842, Brentano Clemens y Griese Noel L, eds. The dolorous passion of Our Lord Jesus Christ: After the meditations of Anne Catherine Emmerich as told to Clemens Brentano. Atlanta: Anvil Publishers, 2005.

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31

Boller, Alessandra. Dystopia, Science Fiction, Post-Apocalypse: Classics - New Tendencies - Model Interpretations. Trier: WVT Wissenschaftlicher Verlag Trier, 2015.

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32

Delia, Ephron y Brashares Ann, eds. The sisterhood of the traveling pants: The official scrapbook. New York: Delacorte Press, 2005.

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33

Uccello, Emilia, ed. Zone Video 2000-2010 – 10 anni di esperienze multimediali. Associazione di Promozione Sociale Vidèa, 2011.

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34

Marino, Bruno Di. Clip: 20 anni di musica in video, 1981-2001 (Matrix). Castelvecchi, 2001.

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35

Cose gia viste dalla pellicola al video: 100 anni di cinema incontri proiezioni e laboratori nelle videoteche comunali : Roma, 30 novembre 1995. 29 marzo 1996 : le videoteche nel sistema bibliotecario. [Roma]: Comune di Roma, Assessorato alle politiche culturali, Sistema bibliotecario, 1996.

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36

Monteverdi, Anna Maria, Flavia Dalila D'Amico y Vincenzo Sansone. Giacomo Verde. Attraversamenti tra teatro e video (1992-1986). Milano University Press, 2022. http://dx.doi.org/10.54103/milanoup.69.

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A little more than a year after the death of Giacomo Verde, pioneer of video/interactive art, techno-theatre and Italian "artivist", the corpus of unpublished drawings and sketches in pencil, pastel and collage for videos, video installations and video performances by the artist from the period 1986-1992 is published. This is the first publication from the Giacomo Verde Archive and it illustrates Verde's first "techno-artistic" phase: a well-documented and creatively rich period, when in 1983 he arrived, self-taught, from popular and street theatre to video art, works and installations whose characteristic feature was the craftsmanship of the "technological artefact", the use of low technology and the addition of poor materials. The authors Anna Maria Monteverdi Dalila Flavia D’Amico, Vincenzo Sansone, dedicate the book to the warm memory of the unforgettable Giacomo Verde.
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37

Anna Lucas: Here and Your Here. Liverpool University Press, 2007.

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38

Finney, Albert Ddco 09532. Annie - Special Anniversary Edition. COLUMBIA/TRI-STAR, 2004.

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39

Eisenberg, Jason. DVD Video Of RIO With Anne Hathaway, Jason Eisenberg and George Lopez. Animated Feature Movie. 20th Century Fox., 2011.

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40

Anna and Bella (Video 8 Minutes Color) (Academy Award 1986 Best Animated Short, Public Performance Copy). Animated People, 1986.

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41

Dimendberg, Edward, ed. The Moving Eye. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.001.0001.

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Once the province of film and media scholars, today the moving image concerns historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations that no longer presuppose a fixed viewer, urban space becomes envisioned and planned through “fly-throughs,” and technologies such as GPS add data to the experience of travel, images in motion have captured the attention of geographers and scholars across the humanities and social sciences. Mobility studies is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952–2009) was among the first practitioners of visual studies to theorize the experience of mobile vision. Her books Window Shopping and The Virtual Window have become key points of reference in the discussion of the windows that frame images and the viewers in motion who perceive them. Although widely influential beyond her own discipline, Friedberg’s work has never been the subject of an extended study. The Moving Eye gathers together essays by a renowned international group of thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. These nine essays advance the lines of inquiry begun by Friedberg.
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42

Kraut, Anthea. Reenactment as Racialized Scandal. Editado por Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.3.

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This chapter considers the 2011 controversy surrounding African-American pop music star Beyoncé’s music video “Countdown,” in which she “borrowed” portions of two works by Belgian avant-garde choreographer Anne Teresa De Keersmaeker, as an example of what Rebecca Schneider refers to as the “scandal of unrestricted circulation and exchange.” Approached as reenactment, Beyoncé’s alleged plagiarism of De Keersmaeker brings to the fore certain issues that have been less discussed in other analyses of “reperformance,” particularly questions of how race structures the anxieties and gaps that reenactment produces. The chapter argues that even as Beyoncé’s unauthorized reproduction of De Keersmaeker inverts the deeply entrenched pattern of white modern and postmodern artists taking from non-white movement practices, the response to “Countdown” demonstrates the persistence of racially tinged anxieties about who is authorized to reenact what.
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43

Bose, Ines, Clara Luise Finke y Anna Schwenke, eds. Medien – Sprechen – Klang : Empirische Forschungen zum medienvermittelten Sprechen. Frank & Timme, 2021. http://dx.doi.org/10.26530/20.500.12657/51399.

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This volume brings together empirical studies on language and speech as well as on their linkage with musical-sound elements in the media (radio, audio guide, audio book, radio play as well as YouTube and Instagram videos). The contributions are primarily concerned with auditory comprehensibility and sound aesthetics, with the medial target group and format specificity of radio genres and other media offerings, and with the speech effects of medial genres, also in cultural comparison. German and Russian news formats, standardized short moderations in several countries, gender constructions in double moderations of German radio primetime, soccer reports, audio guides for children, audio books read aloud and freely narrated, Instagram stories and Youtube educational videos, as well as hip-hop radio as educated radio will be examined. Ines Bose, Prof. Dr. phil. habil., is at the Department of Speech Science and Phonetics at Martin Luther University Halle-Wittenberg. Clara Luise Finke, Dr. phil., is head of the Department of Speech Science at the University of Leipzig. Anna Schwenke, Dr. phil., works at the University of Greifswald as a research assistant in the German Department of the Elementary School Teacher Training Program.
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44

Kumao, Heidi. Heidi Kumao: Real and Imagined. Maize Books, 2022. http://dx.doi.org/10.3998/mpub.12465060.

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Heidi Kumao: Real and Imagined documents and contextualizes narrative fabric works and animations from Kumao’s 2020 solo exhibition at the University of Michigan’s Stamps Gallery. Using fabric cutouts and stitching of everyday objects, Kumao invents a tactile visual vocabulary that distills unspoken aspects of ordinary exchanges into accessible narrative images. Weaving in her experiences as an Asian American woman, artist, and educator, Kumao creates poetic and playful open-ended visual haikus, generating a range of associations to current events, gender roles, and institutional power structures. Captured midstream, interactions from intimate relationships, medical procedures, the workplace, and the political sphere are suspended in time within felt film stills. Real and Imagined presents the reader with an opportunity to experience this remarkable oeuvre of over thirty fabric works and video animations. For over thirty years, Kumao has developed an expanded art practice that includes animations, video installations, photographs, machine art, and fabric works that give physical form to the intangible parts of our lives: our emotions, psychological states, memories, thinking patterns. Her hybrid artworks have included electromechanical girl’s legs that “misbehave,” video installations about surviving confinement, surreal, experimental stop motion puppet animations, performative staged photographs, and hand crafted cinema machines. She has exhibited her award-winning artwork in solo and group exhibitions nationally and internationally including the Art Science Museum Singapore, Centre de Cultura Contemporània de Barcelona, the Museum of Image and Sound (São Paulo) and the Museum of Modern Art in Buenos Aires. Her work is in permanent and private collections including the Houston Museum of Fine Arts, Arizona State University Art Museum, the Philadelphia Museum of Art and the Exploratorium in San Francisco. She has received fellowships and grants from the Guggenheim Foundation, the Creative Capital Foundation, and the National Endowment for the Arts. She is a professor at the Stamps School of Art & Design at the University of Michigan, Ann Arbor. This exhibition catalogue marks the first significant publication on Kumao’s work and includes a selection of works from across her career. It includes written contributions by: Srimoyee Mitra, curator and Director of the Stamps Gallery and NYC-based art critic; Wendy Vogel; an interview between the artist and writer Lynn Love; and poems by the Ruth Lilly Poetry Prize Award winner Marilyn Chin.
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45

Wihstutz, Benjamin, Mirjam Kreuser y Daniele Vecchiato, eds. #CoronaTheater. Der Wandel der performativen Künste in der Pandemie. Theater der Zeit, 2022. http://dx.doi.org/10.35287/9783957494573.

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Die Pandemie hat die performativen Künste grundlegend verändert: Theatersäle wurden umgebaut, digitale und hybride Performance-Formate erfunden, Konzerte gestreamt, Quarantäne-Videos produziert und neue Möglichkeiten der Zuschauerrpartizipation entwickelt. Der Band geht diesem dramaturgischen, räumlichen und institutionellen Wandel der letzten Jahre nach und fragt nach der postpandemischen Zukunft von Theater und Performance. Die Beiträge aus Theater-, Literatur- und Medienwissenschaft sowie drei abgedruckte Gesprächsrunden mit Theaterschaffenden skizzieren ein umfassendes Bild des Wandels und debattieren dabei auch Fragen von Nachhaltigkeit, gesellschaftlicher Teilhabe und Inklusion. Mit Beiträgen von Stefano Apostolo, Kai van Eikels, Sotera Fornaro, Ole Frahm, Maximilian Haas, Georg Kasch, Doris Kolesch, Mirjam Kreuser, Ramona Mosse, Matthias Pees, Yana Prinsloo, Alexandra Schneider, Holger Schulze, Marion Siefért, Antje Thoms, Doris Uhlich, Sandra Umathum, Daniele Vecchiato, Anna Wagner, Julian Warner, Noa Winter, Julia Wissert, Benjamin Wihstutz und Jana Zöll.
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46

Tom Clancy's Rainbow Six: Prima's Official Strategy Guide. Rocklin, CA: Prima Games, 1999.

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47

Day, Walter. TWIN GALAXIES' OFFICIAL VIDEO GAME & PINBALLBOOK OF WORLD RECORDS; Arcade Volume, Second Edition. 2a ed. 1st World Publishing, 2007.

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48

Griese, Noel L. The Dolorous Passion Of Our Lord Jesus Christ: After The Meditations Of Anne Catherine Emmerich As Told To Clemens Brentano. Anvil Publishers, 2005.

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49

Pekerman, Serazer. Becoming-Wolf: From Wolf-Man to the Tree Huggers of Turkey. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0017.

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Focusing on the May 2013 anti-government demonstrations in Turkey, widely known as the “Gezi Park Resistance”, this chapter uses Deleuze and Guattari’s “becoming-animal” and Freud’s “Wolfman” case study to explore the damaged memories of all its participants. During and after the protests, independent from being in denial or in defence, both the protesters and the police often claimed that they did not remember what actually happened. In some cases, they had a difficult time acknowledging that they committed certain acts despite seeing themselves in videos and pictures. This reminds us of fictional werewolf characters, who are accustomed to wake up and find themselves naked under a tree, feeling afraid or guilty, with bruises, scars, and no memory of how they got there. Thus the chapter explores how and why the Gezi Park protesters have common characteristics with the werewolves (of myth and fiction), how it is also connected to the Government's brutal response and how these resemblances might help us understand the resistance, in other words, start seeing the order of the chaos: How “becomings-animal” of people open up places and spaces of resistance and how they are actually unstoppable on a Deleuze & Guattarian plane of resistance.
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50

Maasen, Sabine y Jan-Hendrik Passoth, eds. Soziologie des Digitalen - Digitale Soziologie? Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783845295008.

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About ten years ago, we were still able to justify the reservations of sociology with regard to digitisation as a healthy caution against the hype of the ‘virtual world’ and ‘cyberspace’; today, the situation looks different: beyond the usual rhetoric of media revolutions, new forms of practice, organisation and order have emerged around digital technologies in more or less all fields, posing tangible challenges to sociological theory-building, methods development and empirical social research. Are our theories based on action, communication or practice suitable for describing the contribution of algorithms? Are our methods for dealing with language, images and printed text suitable for analysing the automatic modification of texts, images and videos by filter technologies? How do we deal with increasing competition in data analysis and evaluation? These are the questions that this special volume of the journal ‘Soziale Welt’ (ISSN 0038-6073) explores. With contributions by Dirk Baecker, Sascha Dickel, Tobias Wolbring, Barbara Sutter, Sabine Maasen, Elke Wagner, Niklas Barth, Katharina Kinder-Kurlanda, Roger Häußling, Udo Thiedeke, Josef Wehner, Nicole Zillien, Bernadette Kneidinger-Müller, Heike Greschke, Jagoda Motowidlo, René König, Patrik Sumpf, Christian Stegbauer, Alexander Mehler, Oliver Nachtwey, Philipp Staab, Andreas Boes, Tobias Kämpf, Alexander Zielger, Sabine Pfeiffer, Anne Suphan, Uli Meyer, Uwe Matzat, Erik van Ingen, Christian Papsdorf, Tanja Carstensen, Jeffrey Wimmer, John Postill, Victor Lasa, Ge Zhang, Evelyn Ruppert
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