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Women's Experimental Cinema
This volume offers introductions to the work of fifteen avant-garde American women filmmakers.
Lowering the Boom
As the first collection of new work on sound and cinema in over a decade, Lowering the Boom addresses the expanding field of film sound theory and its significance in rethinking historical models of film analysis. The contributors consider the ways in which musical expression, scoring, voice-over narration, and ambient noise affect identity formation and subjectivity. Lowering the Boom also analyzes how shifting modulation of the spoken word in cinema results in variations in audience interpretation. Introducing new methods of thinking about the interaction of sound and music in films, this volume also details avant-garde film sound, which is characterized by a distinct break from the narrat...
American Avant-Garde Cinema's Philosophy of the In-Between
"Can films philosophize rather than simply represent philosophical ideas developed outside of the cinematic medium? Taking up this question crucial to the emergent field of film philosophy, this book argues that the films of the American avant-garde do "do" philosophy and illuminates the ethical and political stakes of their aesthetic interventions. The book traces the avant-garde's philosophy by developing a history and theory of its investment in dimensional, conceptual, and material in-betweens, clarifying how this cinema's reflections on the creation and reception of images construct an ethics of perception itself, a responsibility to perpetuate thought in an enduring re-encounter with t...
Technologies of Vision
An investigation of the computational turn in visual culture, centered on the entangled politics and pleasures of data and images. If the twentieth century was tyrannized by images, then the twenty-first is ruled by data. In Technologies of Vision, Steve Anderson argues that visual culture and the methods developed to study it have much to teach us about today's digital culture; but first we must examine the historically entangled relationship between data and images. Anderson starts from the supposition that there is no great divide separating pre- and post-digital culture. Rather than creating an insular field of new and inaccessible discourse, he argues, it is more productive to imagine t...
Carolee Schneemann
Traces the feminist icon Carolee Schneemann's prolific six-decade output, spanning her remarkably diverse, transgressive, and interdisciplinary expression Carolee Schneemann (1939-2019) was one of the most experimental artists of the twentieth and early twenty-first centuries. This book traces six decades of the feminist icon's diverse, transgressive and interdisciplinary expression through Schneemann's experimental early paintings, sculptural assemblages and kinetic works; rarely seen photographs of her radical performances; her pioneering films; and groundbreaking multi-media installations. Contributors shed new light on Schneemann's work, which addressed urgent topics from sexual expression and the objectification of women to human suffering and the violence of war. An artist who was concerned with the precarious lived experience of both humans and animals, this book positions Schneemann as one of the most relevant, provocative and inspiring artists in recent years. Published in association with Barbican Art Gallery Exhibition Schedule: Barbican Art Gallery, London (September 8, 2022-January 8, 2023)
Hollis Frampton
The first collection of critical writing on the work of experimental filmmaker Hollis Frampton. Hollis Frampton (1936–1984) was one of the most important experimental filmmakers and theorists of his time, and in his navigation of artistic media and discourses, he anticipated the multimedia boundary blurring of today’s visual culture. Indeed, his photography continues to be exhibited, and a digital edition of his films was issued by the Criterion Collection. This book offers the first collection of critical writings on Frampton’s work. It complements On the Camera Arts and Consecutive Matter, published in the MIT Press’s Writing Art series, which collected Frampton’s own writings. O...
Abstract Video
Offering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this groundbreaking collection is the first substantive sourcebook on abstraction in moving-image media. With a particular focus on art since 2000, Abstract Video addresses a longer history of experimentation in video, net art, installation, new media, expanded cinema, visual music, and experimental film. Editor Gabrielle Jennings—a video artist herself—reveals as never before how works of abstract video are not merely, as the renowned curator Kirk Varnedoe once put it, "pictures of nothing," but rather amorphous, ungovernable spaces that encourage contemplation and innovation. In explorations of the work of celebrated artists such as Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater, and Jennifer West, alongside emerging artists, this volume presents fresh and vigorous perspectives on a burgeoning and ever-changing arena of contemporary art.
Just My Type
What's in a face? In Angela Dufresne's hands, a face is sometimes stretched to its absolute limits, becoming landscape, becoming monstrous, becoming pure color. Just My Type is a study in the topology of the face, as it transforms and morphs, never standing still long enough to zero in on a fixed "type." The typologies in her paintings are hybrid machines; they threaten "categories" that identify us by normative names or force us into vulnerable positions. Dufresne wields heterotopic narratives that are nonhierarchical and perverse and poignantly articulate, porous ways of being in a world fraught by fear, power, and possession. Just My Type features intimate and rarely exhibited portraits of the artist's friends, family, and community, as well as phantasmagoric beings that challenge our understanding of what makes a type.
The Channeled Image
A fascinating look at artistic experiments with televisual forms. Following the integration of television into the fabric of American life in the 1950s, experimental artists of the 1960s began to appropriate this novel medium toward new aesthetic and political ends. As Erica Levin details in The Channeled Image, groundbreaking artists like Carolee Schneemann, Bruce Conner, Stan VanDerBeek, and Aldo Tambellini developed a new formal language that foregrounded television’s mediation of a social order defined by the interests of the state, capital, and cultural elites. The resulting works introduced immersive projection environments, live screening events, videographic distortion, and televis...
Binghamton Babylon
Documents a volatile and productive moment in the development of film studies. In Binghamton Babylon, Scott M. MacDonald documents one of the crucial moments in the history of cinema studies: the emergence of a cinema department at what was then the State University of New York at Binghamton (now Binghamton University) between 1967 and 1977. The department brought together a group of faculty and students who not only produced a remarkable body of films and videos but went on to invigorate the American media scene for the next half-century. Drawing on interviews with faculty, students, and visiting artists, MacDonald weaves together an engaging conversation that explores the academic exciteme...
