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Cover page -- Halftitle page -- Title page -- Copyright page -- Contents -- List of Figures -- Notes on Contributors -- Preface and Acknowledgements -- Introduction: the mid-century celluloid museum STEVEN JACOBS AND DIMITRIOS LATSIS -- Pre-war developments -- Post-war reconstruction and cultural organizations -- Major figures in Europe: Emmer, Storck, Resnais -- Education and research -- The art documentary as art -- Camera and canvas: documentaries on painting -- Key documentaries on sculpture -- Contemporary artists and acts of creation -- Art book and museum -- Television: standardization and deconstruction -- Notes -- 1 The institutional breeding grounds of the post-war film on art: key figures and networks behind the first International Conference on Art Films -- Joining forces: who founded FIFA? -- Les Amis de l'Art -- The conference's honorary committee -- UNESCO: a fresh impulse to the dissemination of culture -- ICOM: a new method for revealing art -- AICA: art criticism on screen -- Film: seminars of the arts -- Breeding ground or burial ground? -- Notes -- 2 American art comes of age: documentaries and the nation at the dawn of the Cold War -- Americaness and Art Discovers America -- Soft power and Pictura Films -- Pictura: An Adventure in Art -- American art documentaries -- Notes -- 3 Art history with a camera: Rubens (1948) and Paul Haesaerts' concept of cinéma critique -- Haesaerts and the illustrated art book -- Preparations, production and awards -- Rubens as art criticism without words -- Rubens and the formalist tradition -- Rubens as a film on art versus an art film -- Notes -- 4 Carlo Ludovico Ragghianti's critofilms and beyond: from cinema to information technology -- Notes -- 5 André Bazin's art documentary in Saintonge -- Notes. "In the years immediately following the Second World War, art documentaries played an important part in an emerging cinephile culture favoring experimental shorts. In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience. With the exception of Alain Resnais's Van Gogh (1948), Henri-Georges Clouzot's Le Mystère Picasso (1956) and a few others, most of them fell into oblivion and they have received only scant scholarly attention. This book aims to rectify this situation by discussing the most innovative, experimental and influential postwar art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships. With an international team of contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by André Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others"--
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