Table of Contents

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

About the Author

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).