Kim Knowles is Lecturer in Alternative and Experimental Film at Aberystwyth University and Experimental Film Programmer at the Edinburgh International Film Festival. She is the author of Experimental Film and Photochemical Practices (2020) and A Cinematic Artist: The Films of Man Ray (2009/12). Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications include Cinematic Intermediality (2021, EUP (with Kim KNowles)), Intermedial Dialogues: The French New Wave and the Other Arts (2019, EUP), Chantal Akerman (2010, Manchester UP), and Proust at the Movies (2005, Ashgate (with Martine Beugnet)).

• List of IllustrationsAcknowledgementsContributors　Introduction - Kim Knowles and Marion SchmidPART 1: MAPPING THE INTERZONE1. 'Film and Performance: Intermedial Intersections’ - Stephen Barber2. ‘Carving Cameras: Antonioni’s Lo Sguardo di Michelangelo (2004)’ - Steven Jacobs3. ‘The Photo-Filmic and the Post-Human: Picturesque Landscapes at the Peripheries of Global Cinema’ - Ágnes Pethő4. ‘Dream Screen:　On Cinema and Painting, Blur and Absorption’ - Martine BeugnetPART 2: THE INTERMEDIAL AVANT-GARDES5. ‘From the Periphery to the Interstices: Avant-Garde Film, Medium Specificity and Intermediality, 1970-2015’ - Christopher Townsend6. The ‘Artist as Filmmaker’: Modernisms, Schisms, Misunderstandings’ - Lucy Reynolds7. ‘The Artwork/Statement as Intermedial Nexus: Paul Sharits’s N:O:T:H:I:N:G’ - Barnaby DickerPART 3: TECHNOLOGY, APPARATUS, AFFECT8. ‘Intermediality and the Origins of Cinema’ - Boris Wiseman9. 'Cinematography’s Blind Spots: Artistic Exploitations of the Film Frame’ - Gabriele Jutz10. ‘Filming and Feeling between the Arts: Pascale Breton, Suite Armoricaine and Eugène Green, Le Fils de Joseph’ - Marion SchmidPART 4: INTERMEDIAL CREATION11. ‘What Does a Dance Filmmaker See?’ - Adam Roberts12. ‘Performance, Moving Image, Installation: the Making of Body of War and Faith’ - Isabel Rocamora13. ‘Muybridge's Disobedient Horses: Non-Stop Stop-Motion’ - Anna Vasof14. ‘A Dialogue With Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror’ - Sarah PucillIndex

This book adds significantly to our understanding of the histories, theories, and practices of cinematic intermediality. It includes exquisite explorations of filmic works, and offers a space for filmmakers to describe their intermedial engagements and fascinations. At a moment where the definition of film is in transformation, this volume of essays reminds us that the ontology of film has always been in mutually productive conversation with other art forms, enriching and being enriched by that which both solidifies and sets into movement its medium specificity.

Kim Knowles is Lecturer in Alternative and Experimental Film at Aberystwyth University and Experimental Film Programmer at the Edinburgh International Film Festival. She is the author of Experimental Film and Photochemical Practices (2020) and A Cinematic Artist: The Films of Man Ray (2009/12). Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications include Cinematic Intermediality (2021, EUP (with Kim KNowles)), Intermedial Dialogues: The French New Wave and the Other Arts (2019, EUP), Chantal Akerman (2010, Manchester UP), and Proust at the Movies (2005, Ashgate (with Martine Beugnet)).

• List of IllustrationsAcknowledgementsContributors　Introduction - Kim Knowles and Marion SchmidPART 1: MAPPING THE INTERZONE1. 'Film and Performance: Intermedial Intersections’ - Stephen Barber2. ‘Carving Cameras: Antonioni’s Lo Sguardo di Michelangelo (2004)’ - Steven Jacobs3. ‘The Photo-Filmic and the Post-Human: Picturesque Landscapes at the Peripheries of Global Cinema’ - Ágnes Pethő4. ‘Dream Screen:　On Cinema and Painting, Blur and Absorption’ - Martine BeugnetPART 2: THE INTERMEDIAL AVANT-GARDES5. ‘From the Periphery to the Interstices: Avant-Garde Film, Medium Specificity and Intermediality, 1970-2015’ - Christopher Townsend6. The ‘Artist as Filmmaker’: Modernisms, Schisms, Misunderstandings’ - Lucy Reynolds7. ‘The Artwork/Statement as Intermedial Nexus: Paul Sharits’s N:O:T:H:I:N:G’ - Barnaby DickerPART 3: TECHNOLOGY, APPARATUS, AFFECT8. ‘Intermediality and the Origins of Cinema’ - Boris Wiseman9. 'Cinematography’s Blind Spots: Artistic Exploitations of the Film Frame’ - Gabriele Jutz10. ‘Filming and Feeling between the Arts: Pascale Breton, Suite Armoricaine and Eugène Green, Le Fils de Joseph’ - Marion SchmidPART 4: INTERMEDIAL CREATION11. ‘What Does a Dance Filmmaker See?’ - Adam Roberts12. ‘Performance, Moving Image, Installation: the Making of Body of War and Faith’ - Isabel Rocamora13. ‘Muybridge's Disobedient Horses: Non-Stop Stop-Motion’ - Anna Vasof14. ‘A Dialogue With Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror’ - Sarah PucillIndex

This book adds significantly to our understanding of the histories, theories, and practices of cinematic intermediality. It includes exquisite explorations of filmic works, and offers a space for filmmakers to describe their intermedial engagements and fascinations. At a moment where the definition of film is in transformation, this volume of essays reminds us that the ontology of film has always been in mutually productive conversation with other art forms, enriching and being enriched by that which both solidifies and sets into movement its medium specificity.

Kim Knowles is Lecturer in Alternative and Experimental Film at Aberystwyth University and Experimental Film Programmer at the Edinburgh International Film Festival. She is the author of Experimental Film and Photochemical Practices (2020) and A Cinematic Artist: The Films of Man Ray (2009/12). Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications include Cinematic Intermediality (2021, EUP (with Kim KNowles)), Intermedial Dialogues: The French New Wave and the Other Arts (2019, EUP), Chantal Akerman (2010, Manchester UP), and Proust at the Movies (2005, Ashgate (with Martine Beugnet)).

• List of IllustrationsAcknowledgementsContributors　Introduction - Kim Knowles and Marion SchmidPART 1: MAPPING THE INTERZONE1. 'Film and Performance: Intermedial Intersections’ - Stephen Barber2. ‘Carving Cameras: Antonioni’s Lo Sguardo di Michelangelo (2004)’ - Steven Jacobs3. ‘The Photo-Filmic and the Post-Human: Picturesque Landscapes at the Peripheries of Global Cinema’ - Ágnes Pethő4. ‘Dream Screen:　On Cinema and Painting, Blur and Absorption’ - Martine BeugnetPART 2: THE INTERMEDIAL AVANT-GARDES5. ‘From the Periphery to the Interstices: Avant-Garde Film, Medium Specificity and Intermediality, 1970-2015’ - Christopher Townsend6. The ‘Artist as Filmmaker’: Modernisms, Schisms, Misunderstandings’ - Lucy Reynolds7. ‘The Artwork/Statement as Intermedial Nexus: Paul Sharits’s N:O:T:H:I:N:G’ - Barnaby DickerPART 3: TECHNOLOGY, APPARATUS, AFFECT8. ‘Intermediality and the Origins of Cinema’ - Boris Wiseman9. 'Cinematography’s Blind Spots: Artistic Exploitations of the Film Frame’ - Gabriele Jutz10. ‘Filming and Feeling between the Arts: Pascale Breton, Suite Armoricaine and Eugène Green, Le Fils de Joseph’ - Marion SchmidPART 4: INTERMEDIAL CREATION11. ‘What Does a Dance Filmmaker See?’ - Adam Roberts12. ‘Performance, Moving Image, Installation: the Making of Body of War and Faith’ - Isabel Rocamora13. ‘Muybridge's Disobedient Horses: Non-Stop Stop-Motion’ - Anna Vasof14. ‘A Dialogue With Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror’ - Sarah PucillIndex

This book adds significantly to our understanding of the histories, theories, and practices of cinematic intermediality. It includes exquisite explorations of filmic works, and offers a space for filmmakers to describe their intermedial engagements and fascinations. At a moment where the definition of film is in transformation, this volume of essays reminds us that the ontology of film has always been in mutually productive conversation with other art forms, enriching and being enriched by that which both solidifies and sets into movement its medium specificity.