Abstract
Review of Jihoon Kim, Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, New York: Bloomsbury, 2016, 404 pp., ISBN 978-1-6289-2293-6.
 In Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, Jihoon Kim tries to describe the ontology of contemporary artworks produced within the universe of New Media Art, particularly the ontology of those works he understands as hybrid moving images, images whose typical materialities are denatured, deconstructed, and resignified when remediated through digital platforms, technical supports or artistic practices initially strange to them. Revising theories by important art critics of the last decades, such as Clement Greenberg and Rosalind Krauss, and combining them with theories by contemporary art critics, such as Lev Manovich and Peter Weibel, Kim provides us new tools for understanding why this New Media hybridity is feasible as visual fruition, as well as why it is progressively capable of grasping new, historically-oriented, image possibilities.
Highlights
In Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, Jihoon Kim describes the ontology of contemporary artworks produced within the universe of New Media Art, the ontology of those works he understands as hybrid moving images, images whose typical materialities are denatured, deconstructed, and resignified when remediated through recording platforms, technical formats or artistic practices initially strange to them
He thoroughly examines the case of analogue films, such as celluloid materials, the case of digital videos, which may comprise original footage or digital manipulations of those films, and, through what seems to me an evolutionary conclusion, the case of multimedia installations—combination of different techniques for the mediation of both analogue film and digital video according to new forms of appreciation
At a first glance, such objects of study may seem to offer a predictable or redundant analysis, but readers must not fall for this: Kim is very lucid when he claims that today we can no longer undertake a systematic research on contemporary digital art based on the tenets of Clement Greenberg’s longlived art criticism, that is, from an epistemological perspective which assumes that the form and the expressive capacities of a given medium are distinct from those of other media, what encloses it into its own singularly specific
Summary
In Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, Jihoon Kim describes the ontology of contemporary artworks produced within the universe of New Media Art, the ontology of those works he understands as hybrid moving images, images whose typical materialities are denatured, deconstructed, and resignified when remediated through recording platforms, technical formats or artistic practices initially strange to them.
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