Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
Bold denotes photo
a: A Novel (Warhol),
48,
49
acousmatic/
acousmêtre,
125,
126The Act of Seeing with One’s Own Eyes (film),
122,
123
Aesthetics of Installation Art (Rebentisch),
26
aesthetics of multiplicity,
25“The Aesthetics of Silence” (Sontag),
130“The Aesthetics of the Avant-Garde” (Kirby),
89affective multiplicity,
27The Angelic Conversation (film),
183n8
Anima (art installation),
72
Antonioni, Michaelangelo,
73,
138The Arrival of a Train at La Ciotat Station (
L’arrivée d’un train en gare de La Ciotat),
7
art: illusion of movement in sculptures,
19; movement and stasis in,
18–22; paintings (
see paintings)
The Art of the Moving Picture (Lindsay),
38
Ataxia—
Aids is Fun (painting),
112
audience participation,
57,
58Audio-Vision: Sound on Screen (Chion),
125
avant-garde filmmaking,
6,
21,
23,
38,
39,
42,
53,
82,
85,
87,
95.
See also neo-avant-garde movement
<—> (
Back and Forth) (film),
88Bergson, Henri,
7,
14–15,
16,
71,
80,
100,
116,
129,
130,
142Berlin: Symphony of a Great City (film),
23
Bernini, Gian Lorenzo,
18,
19biblical narratives,
95–96Black Square (painting),
113
Blue (film),
28,
112,
114,
115,
116–19,
120–24,
125,
126,
127,
128,
129,
131,
136
The Blue Book (Wittgenstein),
103
books: according to Bacon,
34; compared to films,
93,
94,
95boredom: according to Sontag,
55; in film watching,
32,
36,
37,
40,
41,
43,
52,
53,
54,
55,
56,
68–69By Night with Torch and Spear (film),
97
Cage, John,
32,
35,
48,
56,
58,
61,
66,
69,
77,
78,
111,
122,
128,
131,
141Camera Lucida (Barthes),
20
Carroll, Noël,
8,
9–10,
11,
12,
17,
44,
98,
99,
102,
108,
114Christ 112 Times (painting),
46
Chromophobia (Batchelor),
115
Cinema (Deleuze),
81,
129
Cinema 2: The Time Image (Deleuze),
23
cinema of stasis: accomplishment of,
16; according to Schrader,
8; aims of,
1,
21,
22; as arising from avant-garde,
6; contributions of digital film to,
142; duration as preoccupation of,
13; examples of,
8; fate of,
138; historicizing of,
22–24; listing of films in,
145–48; listing of films relevant to understanding of,
149–51; as not yet adequately theorized,
4; paradox of,
14–18; reference to films within,
10; relationship between Fluxus collective and,
64–70; role of in digital age,
113; use of term,
3The Cinematic (Campany),
22
The Cinematic Body (Shaviro),
47
Composition 1960 #5 (musical composition),
77
Composition 1960 #7 (musical composition),
78
Composition 1960 #9 (musical composition),
79
Conrad, Tony,
24,
39,
60,
77,
90,
113,
114,
124,
125,
136Coppola, Francis Ford,
99Creative Evolution (Bergson),
7,
130
Cunnilingus in North Korea (artwork),
109
Danse macabre (musical composition),
35
David (sculpture),
18,
19
“Defining the Moving Image” (Carroll),
98Deleuze, Gilles,
3,
22,
23–24,
59,
68,
73,
74,
75,
81,
100,
129Derek Jarman and Lyric Film: The Mirror and the Sea (Dillon),
119
Diaries, Notes, and Sketches (a.k.a.
Walden) (film),
42
diegetic absorption,
21,
22Disappearing Music for Face (film),
59–60,
60,
61,
63,
64,
67,
69,
70,
71–72,
74,
75,
76–80,
81,
83,
139
distracted spectatorship,
38,
53,
71Dolorosa (art installation),
72
Dreyer, Carl Theodor,
123Dripping Water (film),
88
Drums of the First Judgment (
Tambours du jugement premier) (film),
186–87n46
Duchamp, Marcel,
19,
21,
39,
61,
66,
85,
86,
87,
105duration: according to Barthes,
142; according to Bergson,
14; according to Snow,
88; Duchamp’s injection of,
21; experiments in,
83; of film as predetermined but viewing as indeterminate,
53; as indispensable component of cinema,
12; as most pivotal distinction between film and photography,
51; perception of,
81; as preoccupation of cinema of stasis,
13; Snow’s control of,
94
Empire (film),
4,
8,
13–14,
15,
24,
32,
33,
36,
37,
39,
40,
41,
43,
46,
50,
51,
52,
53,
56,
57,
70,
71,
131,
134
Exploding Plastic Inevitable productions,
165n43
Fanfare for Waking Up the Big Fat King of the Monkeys (Who Always Sleeps with One Eye Open) (
Sonnerie pour réveiller le bon gros roi des singes [
lequel ne dort toujours que d’un oeil]) (musical composition,
35
film: concept of,
100,
103; defining of,
107,
108,
109; distinction of from photography,
12,
20,
51,
61; experiential unfolding as
sine qua non of,
15; intersection of with photography,
71; relationship of with photography,
91; use of term,
10,
11,
12.
See also cinema;
digital film/cinemafilmic, according to Barthes,
15,
16,
17Film No. 2 (
Mona Lisa and Her Smile) (film script),
66
Film No. 6 (
A Contemporary Sexual Manual: 366 Sexual Positions) (film script),
66
film theory: desire to still nature of cinema into single essence as remarkably common in,
25; movement and stasis in,
5–13; Wittgenstein and,
98–109“Fire and Ice” (Wollen),
7Five: Dedicated to Ozu (film),
42
Five O’Clock in the Morning (film),
68
5 Year Drive-By (film),
83
The Flicker (film),
24,
136
Fluxus art/artworks/artists,
60,
61,
63–64,
66,
67,
68,
69,
77,
78,
83Fluxus films,
28,
29,
59,
60,
61,
68,
69,
70,
71,
76,
83,
173n43“Fluxus: Theory and Reception” (Higgins),
63Forged Iron Tapestry (
Tapisserie en fer forgé) (musical composition),
35
The 400 Blows (
Les quatre cents coups) (film),
8
Four Organs (musical composition),
79
4’33” (musical composition),
128
Fred Ott’s Sneeze (film),
12
Fuck Me Blind (painting),
112
furniture films,
4,
29,
34,
36–45,
46,
50,
53,
55,
58,
143
Goethe, Johann Wolfgang von,
18Goodbye, Dragon Inn (film),
137–38
Gottheim, Larry,
1,
2,
4,
24Greenberg, Clement,
62,
63,
91Gunning, Tom,
5,
6,
7,
8,
21,
26,
107,
115,
130
Haircut (No. 2) (film),
42,
43
A Harvest of Tomatoes on the Edge of the Red Sea Harvested by Apoplectic Cardinals (art),
183–84n9
Hermes Bird (film),
21,
82
IKB (International Klein Blue),
111,
116,
118Image and Mind: Film, Philosophy and Cognitive Science (Currie),
9
Imitation of Christ (film),
96
immobility,
16,
50,
52,
63,
67,
69,
73,
122,
130,
168n78In girum imus nocte et consumimur igni (
We Turn in the Night, Consumed by Fire) (film),
186–87n46
intermedia: defined,
61; experiments in,
87; Fluxus and,
61–64; hybrids of,
109International Klein Blue (IKB),
111,
116,
118The Invisible Man (film),
12,
83
A Journey to Avebury (film),
183n8
Journey to Italy (
Viaggio in Italia) (film),
8
Klein, Yves,
79,
80,
111,
112,
113,
116,
117,
118,
119,
124,
129,
135
La femme 100 têtes (Ernst),
25
L’âge d’or (
The Golden Age) (film),
185–86n31
La jetée (film),
4,
7,
127
Laocoön and His Sons (sculpture),
18
Laocoön: An Essay on the Limits of Painting and Poetry (Lessing),
62
La région central (
The Central Region) (film),
88
The Last Laugh (film),
87
La tache aveugle (
The Blind Spot) (film),
12,
13,
83
La trahison des images (
The Treachery of Images) (painting),
106
Le gai savoir (
The Joy of Learning) (film),
136
Le retour a la raison (
The Return to Reason) (film),
23
Les mystères du château de Dé (
The Mysteries of the Chateau of Dice) (film),
176–77n4
Lessing, Gotthold Ephraim,
18,
21,
62L’étoile de mer (
The Starfish) (film),
176–77n4
Lichtspiel Opus I (film),
85
Line Describing a Cone (film),
89,
99
Lippit, Akira Mizuta,
130
Los Angeles Getty Museum,
72Lotus Blossom (artwork),
109
Ma (
Intervals) (film),
113
MacDonald, Scott,
3,
60,
94Maciunas, George,
61,
63,
64,
65,
66,
67,
77,
79,
80Man with a Movie Camera (film),
8,
23,
87
Marilyn Diptych (painting),
36
Matter and Memory (Bergson),
116
meditation, cinema of stasis as creating space for,
1,
22Mignon (musical composition),
35
monochrome blue—
RGB 0,0,255—
#0000FF (video),
135
monochrome films/monochromatic films,
4,
112,
114,
116,
127,
128,
129,
135,
136,
143Monochrome for Yves Klein, Fluxversion (film),
188n56
monochrome green—
RGB 0,255,0—
#00FF00 (video),
135
Monotone Symphony (musical composition),
79
motion picture, use of term,
5,
10movement: as contingent component of film,
88,
143; as divisible into discrete units,
7; as essential to cinema,
130; as essential to ontology of film,
139; implied motion,
18; potential for,
10,
11,
12; as
sine qua non of cinema,
5,
12; and stasis in art,
18–22; and stasis in film theory,
5–13; of time,
14,
15; use of term,
3–4movies, use of term,
5,
10moving picture, use of term,
5,
10multiplicity, aesthetics of,
25Muri Romani (
Roman Walls) (film),
140–42,
141
Museum of Modern Art, screening of
Empire,
56,
58,
131musicality:
Disappearing Music for Face and,
76–80; as one of eleven defining features of Fluxus art,
63Music for Two Players I (event score),
65
neo-avant-garde movement,
61,
88New Queer Cinema movement,
112Nude Descending a Staircase, No. 2 (painting),
19
“One Culture and the New Sensibility” (Sontag),
55100 Coke Bottles (painting),
36
100 Soup Cans (painting),
46
One Second in Montreal (film),
9,
10,
88,
89,
91
1 to 60 Seconds (film),
42
The Only Minimal Conceptual Structuralist Color Field Dissolve Film Done to a Rag Time Tune (film),
184n11
Ono, Yoko,
41,
59,
61,
65,
66,
67,
75,
77,
81Ontario Board of Censors,
92Outer and Inner Space (film/video),
41
paintings: illusion of movement in,
19; monochrome paintings,
113,
129,
135,
136A Passage to India (Forster),
54
Passions (exhibition),
72
Peirce, Charles Sanders,
134The Persistence of Memory (painting),
82
Philosophical Investigations (Wittgenstein),
100,
103
Phonic Floor Tiles (
Carrelage phonique) (musical composition),
35
photography: distinction of from film/cinema,
12,
20,
51,
61; intersection of with film/cinema,
71; relationship of with film/cinema,
91Piece for a Small Puddle (event score),
65
Poetic Justice (film),
9,
96,
114
Proclamation of the Blue Epoch (exhibition),
111
protracted films,
4,
60,
61,
67,
70,
71,
73,
74,
78,
82,
83,
88,
143
Quartet Installation (film),
42,
43,
44,
45
The Quintet of the Astonished (art installation),
72
“Rameau’s Nephew” by Diderot (
Thanx to Dennis Young)
by Wilma Schoen (film),
92
Ray Gun Virus (film),
136
Rebentisch, Juliane,
26,
28,
41Red Stockings (film),
113
Red Yellow Blue (painting),
113
repetition, use of,
31,
32,
36,
45,
46,
47,
48,
49,
50,
58,
79The Riddle of Lumen (film),
103
“The River of Time” (Smart),
80The Rocky Horror Picture Show (film),
174n56
Rodchenko, Aleksandr,
113
Samson and Delilah (film),
96
Satie, Erik,
31,
32,
34–36,
38,
48,
51,
56,
58,
79Saussure, Ferdinand de,
134Screen Test: Ann Buchanan (film),
27–28
sculptures, illusion of movement in,
19Secondary Currents (film),
105
See You Later/Au Revoir (film),
82,
88
Sense and Sensibilia (Austin),
7
Serene Velocity (film),
16–18
The Seventh Seal (film),
138
Shadow Piece II (event score),
65
Shiomi, Mieko,
59,
60,
61,
63,
64–65,
66,
71,
72,
76,
77,
78,
79Side Seat Paintings Slides Sound Film (film),
88,
91
Sleep (film),
8,
20,
32,
33,
36,
37,
39,
40,
41,
43,
46,
50,
52,
53,
58,
70,
71
slow motion, use of,
20,
21,
40,
60,
65,
67,
69,
70,
71,
72,
73–74,
75,
79,
82,
83,
183n8slowness,
23,
67,
71,
72,
73,
75,
79,
81,
91,
94Snow, Michael,
4,
8,
9,
10,
11,
12,
23,
28,
52,
82,
87,
88,
91,
92,
93,
95,
96,
97,
102,
103,
104,
105,
106,
107,
139So Is This (film),
28,
87,
89,
91–95,
93,
96,
97,
98–99,
103,
104,
105,
106,
108,
138–39
“Sonnet: Homage to Andy Warhol” (Padgett),
46,
47,
49spectatorial control,
139spectatorship: according to Snow,
52; audience participation,
57,
58; distracted spectatorship,
38,
53,
71; fragmentary forms of,
42; for Warhol films,
38,
42,
43,
45,
47,
53,
54,
90Star Piece (event score),
77
stasis: aesthetics of,
24–29; in Fluxus,
64; movement and, in art,
18–22; movement and, in film theory,
5–13; role of,
5; in Snow’s work,
88–89static films: according to Carroll,
9,
10; according to Gunning,
7,
21; according to Schrader,
8; aesthetic force of,
11; as backdrops for other activities,
28; as calling attention to their duration,
13; challenges of to conventional conceptions of cinema,
3; compared to traditional visual art,
20; as counterpoint to advertising and popular culture,
23; as directing viewers’ attention elsewhere,
40; early history of,
4,
22; examples of,
4,
98,
112,
123,
127; as immersive,
28; as perceptually indistinguishable from photograph,
142; as permitting more substantive understanding of cinema,
16; as seldom interested in overt shock or narrativity,
22; subsets of,
4; as succession of photographs or other stills,
18stillies (screen tests),
27,
50Super Slow Tetris (installation art),
83
Suprematist Composition: White on White (painting),
113
Suprematist Mirror (painting),
113
Sur le passage de quelques personnes à travers une assez courte unité de temps (
On the Passage of a Few Persons through a Rather Brief Unity of Time) (film),
186–87n46
Symphonie diagonale (film),
85
television: theorization of distinctions between film and,
44–45; Warhol’s filmmaking compared to,
43–44Television Delivers People (film),
177n9
text: reading of compared to viewing textual film,
94; use of,
86,
87,
88,
91,
96,
97,
105,
109,
112; as visual imagery,
95.
See also wordstextual films,
4,
42,
87,
89,
91,
94,
95,
96,
98,
102,
105,
108,
109,
112,
143,
177n9Theory of Film: The Redemption of Physical Reality (Kracauer),
25–26
“The Third Meaning: Research Notes on Several Eisenstein Stills” (Barthes),
1513 Most Beautiful … Songs for Andy Warhol Screen Tests (DVD),
27
“This Is Not Here” (exhibition),
41A Thousand Plateaus (Deleuze and Guattari),
75
time: awareness of as raison d’être of static films,
13; representation of,
24; sense of regarding Warhol films,
40–41“Timeless Time” (Epstein),
81To Be Looked At (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour (sculpture),
21
Total Eclipse of the Sun in Darkest Africa (art),
183–84n9
Transcendental Style in Film (Schrader),
8
Tree Movie (film script),
67
12! Big Names! (event),
172n30
24 Hour Psycho (film),
71,
73
200 One Dollar Bills (painting),
46
Understanding Media (McLuhan),
44
video installations,
41,
72The Virtual Life of Film (Rodowick),
101
Visionary Film (Sitney),
16
Wall Hanging for a Prefectural Office (
Tenture de cabinet préfectoral) (musical composition),
35
Warhol, Andy,
4,
8,
13–14,
15,
20,
23,
24,
27,
28,
31,
32,
36–58,
69,
70,
71,
96,
97,
131,
134,
139Water (
Water Piece for Ono) (film/video),
41
White Calligraphy (film),
97
White Paintings (paintings),
113
Wittgenstein (script),
115
The Wizard of Oz (film),
125
words: as aesthetic cinematic element,
97; function of in
Anémic cinéma,
87; functions of according to Wittgenstein,
103; Snow’s use of,
87,
91,
92–94,
96,
97,
104–105,
106.
See also text“The Work of Art in the Age of Its Technological Reproducibility” (Benjamin),
19,
53
X for Henry Flynt (musical composition),
79
Young-Hae Chang Heavy Industries,
109