22 – 23 Nov 2013
Whereas in geometry perspective is thought of as an invariant that projects three-dimensional objects onto a two-dimensional surface, in film perspective acquires a dynamism that regenerates through shifting optics, movement, and montage. Films are perspectival insofar as they show something as something; they always show how something is seen from a particular perspective and representational schema. Any film represents in a determined way, according to a particular affective stance or outlook. This transpires through a framing of shots that is multiplied and managed via montage. The cinematic shot is thus not just a technical device; it also involves an attitude towards the world.
The extension and dissolution of film in terms of its mediality as well as its exhibition spaces promotes a rearticulation of perspective. Multi-perspectival video installations comprised of manifold screens complicate the problem of perspective through new forms of space, new modalities of narration, and the mobility of the spectator-observer.
The international and transdiciplinary conference Post-Cinematic Perspectives aims at discussing these changes of optical and narrative perspective in post-cinematic media and apparatuses. The conference invites art historical, philosophical, film and media theoretical contributions on the dissolution of perspective in post-cinema as well as the changed status of the spectator-observer.
(Click for further documentation)
Organized byLisa Åkervall
In EnglishFirst published on: https://www.ici-berlin.org/events/post-cinematic-perspectives/
Rights: © ICI Berlin