This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative initiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe.Sections of chapter one have previously appeared as a part of "Screening Rooms: The Movie Theatre in/and the Gallery," in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as "A Cinema in the Gallery, A Cinema in Ruins," Screen : (December ), -. All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book.Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. An additional thanks goes to the many individuals who helped me to secure permission to reproduce images of the artworks discussed in this book.This project began as a dissertation in the truly special department of Modern Culture and Media at Brown University. Infinite thanks to my advisor, Mary Ann Doane, to my committee members, Wendy Chun and Philip Rosen, and to Michael Silverman, who was a thoughtful and encouraging voice in the early stages of this project. I am deeply grateful for the friendship and support offered at Brown and since by my fellow PhD students, the always-wonderful trio of Susan McNeil, Liza Hebert, and Richard Manning, and especially the gang at Charlesfield.During a postdoctoral fellowship at UC Berkeley, the department of Film and Media warmly welcomed me and helped me to negotiate the transitions from grad student to faculty member and from dissertation to book. Thank you in particular to Jonathan Haynes, Erica Levin, Kristen Whissel, Linda Williams, Federico Windhausen, and the students of my "Art and the Moving Image" seminar.Many thanks to my colleagues in Film Studies at Carleton University, particularly Malini Guha, and to John Osborne, dean of the Faculty of Arts and Social Sciences, for his support of this project.Bart Testa, Kevin Wynter, and anonymous readers at Screen and Public provided me with very helpful feedback on particular sections of the book. I am especially grateful for the encouragement and criticism of Mieke Bal and Ursula Frohne.This project would not have been possible without financial support received from Brown University, the Social Sciences and Humanities Research Council of Canada, the Andrew W. Mellon Foundation, and Carleton Uni...
This article examines the sale of fi lm and video as art objects, with particular attention to the development of the limited-edition model throughout the twentieth century. It offers an explanation for the ascendance of this model in the 1990s and explores both the support and criticism it has received.
This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative initiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe.
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