Introduction
Roger Hallas
Part I: Historical Foundations
1. Henri Storck’s Le Monde de Paul Delvaux and Pygmalionist Cinema
Steven Jacobs
2. A Sculptor’s Life on Screen: John Read’s Film Portraits of Henry Moore for BBC Television
Katerina Loukopoulou
Part II: Representing the Artist
3. A Portrait of the Artist as Automaton: Creativity, Labor, and Technology in Tim’s Vermeer
Stephan Boman
4. Flesh and Vision: Jia Zhangke’s Still Life and Dong
Amy Villarejo
5. Globalizing Ai Weiwei
Luke Robinson
Part III: Questions of Documentation
6. Film and the Performance of Marina Abramović: Documentary as Documentation
Chanda Laine Carey
7. Gained in Translation: Site-Specificity in Recent Documentaries
Vera Brunner-Sung
8. The Wages of !W.A.R.: Activist Historiography and the Feminist Art Movement
Theresa L. Geller
Part IV: Museum Gazing
9. When Art Exhibition Met Cinema Exhibition: Live Documentary and the Remediation of the Museum Experience
Annabelle Honess Roe
10. Museum Movies, Documentary Space, and the Transmedial
Asbjørn Grønstad
11. "Seeing Too Much is Seeing Nothing": The Place of Fashion within the Documentary Frame
Matthew J. Fee
Part V: Art Worlds and Film Worlds
12. Challenging the Hierarchies of Photographic History
Trisha Ziff, interviewed by Roger Hallas
13. On the History (and Future) of Art Documentaries and the Film Program at the National Gallery of Art
Margaret Parsons, interviewed by Marsha Gordon
Biography
Roger Hallas is Associate Professor of English at Syracuse University. He is the author of Reframing Bodies: AIDS, Bearing Witness and the Queer Moving Image (2009) and the co-editor of The Image and the Witness: Trauma, Memory and Visual Culture (2007).
