Jihoon Kim is Assistant Professor in the Department of Film Studies at Chung-ang University, South Korea, after teaching in the Division of Broadcast and Cinema Studies at Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore. His essays have appeared in Screen, Film Quarterly, Animation: An Interdisciplinary Journal, Millennium Film Journal, Leonardo Electronic Almanac, and the anthologies Global Art Cinema: New Histories and Theories (2010), and Taking Place: Location and the Moving Image (2011), among others.

What is a moving image? Through close analyses of a stunning range of post-media moving-image artists, Jihoon Kim assesses and reworks forty years of debate on medium specificity, formal abstraction, recycled footage, image processing and installation aesthetics. The resulting critiques of convergent and discrete media, ontologies of the image, and the role of art in the communicative epoch we are now entering have profound implications not just for the media arts but for art and media in the 21st century.

• Table of ContentsEditor’s Foreword (Francisco J. Ricardo)AcknowledgmentsList of IllustrationsIntroduction: Hybrid Moving Images and the Post-media ConditionsChapter 1: Videographic Moving Pictures: Remediating the “Film Stilled” and the “Still Film”Chapter 2: Digital Glitch Video and Mixed-media Abstraction: Materialism and Hybrid Abstraction in the Digital AgeChapter 3: Transitional Found Footage Practices: Video In and Out of the Cinematic FragmentsChapter 4: Intermedial Essay Films: “Memories-in-Between”Chapter 5: Cinematic Video Installations: Hybridized Apparatuses inside the Black BoxAfterwordNotesIndex

Jihoon Kim is Assistant Professor in the Department of Film Studies at Chung-ang University, South Korea, after teaching in the Division of Broadcast and Cinema Studies at Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore. His essays have appeared in Screen, Film Quarterly, Animation: An Interdisciplinary Journal, Millennium Film Journal, Leonardo Electronic Almanac, and the anthologies Global Art Cinema: New Histories and Theories (2010), and Taking Place: Location and the Moving Image (2011), among others.

What is a moving image? Through close analyses of a stunning range of post-media moving-image artists, Jihoon Kim assesses and reworks forty years of debate on medium specificity, formal abstraction, recycled footage, image processing and installation aesthetics. The resulting critiques of convergent and discrete media, ontologies of the image, and the role of art in the communicative epoch we are now entering have profound implications not just for the media arts but for art and media in the 21st century.

• Table of ContentsEditor’s Foreword (Francisco J. Ricardo)AcknowledgmentsList of IllustrationsIntroduction: Hybrid Moving Images and the Post-media ConditionsChapter 1: Videographic Moving Pictures: Remediating the “Film Stilled” and the “Still Film”Chapter 2: Digital Glitch Video and Mixed-media Abstraction: Materialism and Hybrid Abstraction in the Digital AgeChapter 3: Transitional Found Footage Practices: Video In and Out of the Cinematic FragmentsChapter 4: Intermedial Essay Films: “Memories-in-Between”Chapter 5: Cinematic Video Installations: Hybridized Apparatuses inside the Black BoxAfterwordNotesIndex

Jihoon Kim is Assistant Professor in the Department of Film Studies at Chung-ang University, South Korea, after teaching in the Division of Broadcast and Cinema Studies at Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore. His essays have appeared in Screen, Film Quarterly, Animation: An Interdisciplinary Journal, Millennium Film Journal, Leonardo Electronic Almanac, and the anthologies Global Art Cinema: New Histories and Theories (2010), and Taking Place: Location and the Moving Image (2011), among others.

What is a moving image? Through close analyses of a stunning range of post-media moving-image artists, Jihoon Kim assesses and reworks forty years of debate on medium specificity, formal abstraction, recycled footage, image processing and installation aesthetics. The resulting critiques of convergent and discrete media, ontologies of the image, and the role of art in the communicative epoch we are now entering have profound implications not just for the media arts but for art and media in the 21st century.

• Table of ContentsEditor’s Foreword (Francisco J. Ricardo)AcknowledgmentsList of IllustrationsIntroduction: Hybrid Moving Images and the Post-media ConditionsChapter 1: Videographic Moving Pictures: Remediating the “Film Stilled” and the “Still Film”Chapter 2: Digital Glitch Video and Mixed-media Abstraction: Materialism and Hybrid Abstraction in the Digital AgeChapter 3: Transitional Found Footage Practices: Video In and Out of the Cinematic FragmentsChapter 4: Intermedial Essay Films: “Memories-in-Between”Chapter 5: Cinematic Video Installations: Hybridized Apparatuses inside the Black BoxAfterwordNotesIndex