贫血
发表于 2025-3-21 18:42:04
书目名称Durational Cinema影响因子(影响力)<br> http://impactfactor.cn/if/?ISSN=BK0283410<br><br> <br><br>书目名称Durational Cinema影响因子(影响力)学科排名<br> http://impactfactor.cn/ifr/?ISSN=BK0283410<br><br> <br><br>书目名称Durational Cinema网络公开度<br> http://impactfactor.cn/at/?ISSN=BK0283410<br><br> <br><br>书目名称Durational Cinema网络公开度学科排名<br> http://impactfactor.cn/atr/?ISSN=BK0283410<br><br> <br><br>书目名称Durational Cinema被引频次<br> http://impactfactor.cn/tc/?ISSN=BK0283410<br><br> <br><br>书目名称Durational Cinema被引频次学科排名<br> http://impactfactor.cn/tcr/?ISSN=BK0283410<br><br> <br><br>书目名称Durational Cinema年度引用<br> http://impactfactor.cn/ii/?ISSN=BK0283410<br><br> <br><br>书目名称Durational Cinema年度引用学科排名<br> http://impactfactor.cn/iir/?ISSN=BK0283410<br><br> <br><br>书目名称Durational Cinema读者反馈<br> http://impactfactor.cn/5y/?ISSN=BK0283410<br><br> <br><br>书目名称Durational Cinema读者反馈学科排名<br> http://impactfactor.cn/5yr/?ISSN=BK0283410<br><br> <br><br>
催眠
发表于 2025-3-21 20:52:27
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残废的火焰
发表于 2025-3-22 00:41:24
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旧石器
发表于 2025-3-22 06:42:01
James Benning: Minimal, Ultra-Minimal, Beyond the Zero, and Multipleary. This chapter outlines Benning’s astonishing flourish of work since 2000 (39 films totaling nearly 60 hours, plus video installations and other gallery projects), and proposes him as the twenty-first-century durational filmmaker most directly descended from the New York avant-garde of the 1960s.
船员
发表于 2025-3-22 10:46:21
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忘恩负义的人
发表于 2025-3-22 13:30:11
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忘恩负义的人
发表于 2025-3-22 21:02:46
Claude Lanzmann: Duration and Gravitasn Jacobs, a durational aesthetic is subtended by a durational logic of production, work on the . cycle running from 1973 to 2017. Previous discussion criticizes . for seeming sympathetic to its central figure, Benjamin Murmelstein, as well as for breaking with . in its use of period footage. The cha
majestic
发表于 2025-3-22 22:42:58
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侵略者
发表于 2025-3-23 03:05:37
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裤子
发表于 2025-3-23 06:03:56
David Claerbout: Duration and Heterochrony shots and the same scenario (a remake of Godard’s .) every 10 minutes from before dawn to after sunset on a long summer day, though the piece is not a loop; the 70 different iterations are 70 different takes. The artist proposes that the narrative tires itself out so that the piece becomes a study