CONTENTS

Acknowledgments

 

1. INTRODUCTION: THE FILMIC

2. SERIOUS IMMOBILITIES: ANDY WARHOL, ERIK SATIE, AND THE FURNITURE FILM

3. STASIS IN FLUXUS: DISAPPEARING MUSIC FOR FACE AND PROTRACTED CINEMA

4. BOUNDLESS ONTOLOGIES: MICHAEL SNOW, WITTGENSTEIN, AND THE TEXTUAL FILM

5. COLORED BLINDNESS: DEREK JARMAN’S BLUE AND THE MONOCHROME FILM

6. CONCLUSION: STATIC CINEMA IN THE DIGITAL AGE

 

Appendix 1. The Cinema of Stasis

Appendix 2. Films Relevant to Understanding the Cinema of Stasis

Notes

Index