Abstract

Digitally composed from stereo photographs over a century old, Ken Jacobs’s 2006 Capitalism films unsettle spatiotemporal relationships that structure not only photographic and cinematic representation but also dimensions of perception and history. They explore depth as an aesthetic and a conceptual paradox, which has driven Jacobs’s career-long experiments in “paracinema.”

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 1-26
Launched on MUSE
2014-01-22
Open Access
No
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