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Framing French Culture
edited by Natalie Edwards, Ben McCann and Peter Poiana
$55.00 | 2015 | Paperback | 978-1-922064-86-8 | 298 pp
FREE | 2015 | Ebook (PDF) | 978-1-922064-87-5 | 298 pp
65 colour illustrations
1. The doubling of the frame — Visual art and discourse
Natalie Edwards, Ben McCann and Peter Poiana
2. Colonial vision: French voyager-artists, Aboriginal subjects and the British Colony at Port Jackson
3. An artist in the making: The early drawings of Charles-Alexandre Lesueur during the Baudin expedition to Australia
4. Framing New Holland or framing a narrative? A representation of Sydney according to Charles-Alexandre Lesueur
5. The Artwork of the Baudin expedition to Australia (1800-1804): Nicolas-Martin Petit's 1802 portrait of an Aboriginal woman and child from Van Diemen's Land
6. Framing the Eiffel Tower: From postcards to Postmodernism
7. The return of Trauner: Late style in 1970s and 1980s French film design
8. Annie Ernaux's phototextual archives: Ecrire la vie
9. The image of self-effacement: The revendication of the autonomous author in Marie NDiaye's Autoportrait en vert
10. Accumulating Algeria: Recurrent images in Pied-Noir visual works
Amy L. Hubbell
11. Georges Bataille's Manet and the 'strange impression of an absence'
12. Entropy and osmosis in conceptualisations of the Surrealist frame
13. Art and origin: Bataille and Blanchot's return to Lascaux
Writers, painters, photographers, illustrators, directors and designers search for the perfect frame to capture, isolate, subvert or aestheticise an image, and may deploy a range of framing devices to tell their stories: the layered photograph, the jumbled timeframe, the flashback, the voice-over, the unreliable narrator, the hybrid assemblage.
Throughout this book, the concept of framing is used to look at art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.
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