9 The Last Qualitative Scientist: Hollis Frampton and the Digital Arts Lab

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Acknowledgments vii
4. Introduction: Studio Perspectives 1
5. Part one. Formations
6. 1 “The Longed-For Crystal Palace” Empire, Modernity, and Nikkatsu Mukōjima’s Glass Studio, 1913–1923 23
7. 2 Regulating Light, Interiors, and the National Image: Electrification and Studio Space in Silent-Era Brazil 42
8. 3 Ephemeral Studios: Exhibiting Televisual Spaces during the Interwar Years 63
9. Part two. Foundations
10. 4 Estudios Churubusco: A Transnational Studio for a National Industry 85
11. 5 Pinewood Studios, the Independent Frame, and Innovation 103
12. 6 Backlots of the World War: Cinecittà, 1942–1950 122
13. Part three. Alternative Routes
14. 7 The Film Train Stops at Mosfilm: Aleksandr Medvedkin and the Operative Film Factory 145
15. 8 Postindustrial Studio Lifestyle: The Eameses in the Environment of 901 166
16. 9 The Last Qualitative Scientist: Hollis Frampton and the Digital Arts Lab 192
17. Part four. Studio Futures
18. 10 Made-for-Broadcast Cities 213
19. 11 The Nature of the Firm and the Nature of the Farm: Lucasfilm, the Campus, and the Contract 242
20. 12 “Make It What You Want It to Be” Logistics, Labor, and Land Financialization via the Globalized Free Zone Studio 261
21. Selected bibliography 281
22. Contributors 303
23. Index 307