Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space

by Michael Betancourt

Overview

Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers 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 today’s film editors, motion designers, and other media artists.

Product Details

ISBN-13:	9781317359142
Publisher:	Taylor & Francis
Publication date:	02/19/2016
Sold by:	Barnes & Noble
Format:	eBook
Pages:	182
File size:	7 MB

About the Author

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.

Table of Contents

1. Introduction. 1.1 Definitions and Scope. 1.2 The "Image Animation Problem". 1.3 The Taxonomic Approach. 1.4 Affect. 1.5 Motion Graphics. 1.6 Scope of Analysis. 2. Realism. 2.1 The Long Take. 2.2 Animation. 2.3 Abstraction. 2.4 Montage and Editing. 2.5 Realism versus Reality. 2.6 Simultaneous Action. 3. Windowing. 3.1 Conceptual Framework. 3.2 Multiple Image Compositions. 3.3 Technological Production. 3.4 Limited Scope in Manovich’s Theorization. 3.5 Windowing. 4. Taxonomy. 4.1 Time—Motion—Space Displacement. 4.2 Motion—Space Displacement (Mirroring). 4.3 Time—Space Displacement. 4.4 Time—Motion Displacement (Step-Printing). 4.5 Interdependence of Types. 5. Conclusions. 5.1 Commercial and Non-Commercial Forms. 5.2 Theory and Praxis. 6. Diagrams and Figures. Appendix. A.1 Semiotics of Morphology and Structure. A.2 Application. A.3 Aesthetics are History.