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Standish Lawder and the Cubist Cinema
Standish Lawder was a film artist. In November 1965 at the Film-Makers' Cinematheque, he participated in an early “expanded cinema” event organized by Jonas Mekas and the "New American Cinema Group.” Over the following decade, Lawder made a series of provocative, visually ingenious films which are as compelling now as they were a half century ago. Standish Lawder was an art historian. If the activity of Mekas and the New York “underground” have now come to be seen as the beginning of the second major chapter in the history of experimental film, unquestionably the first chapter was the European avant-garde of the 1920s. Lawder was a pioneer in serious art historical research on the subject. This book is an attempt to appreciate Lawder as an artist and make his singular achievement as an art historian more available.
Dreams of Chaos, Visions of Order
Addresses the question of how--and to what extent--viewers can make sense of American avant-garde films. Peterson examines the implicit assumptions of other scholars, advocates an alternative to dominant approaches to the avant-garde cinema, and questions some long-standing cliches about the history of the avant garde. Includes numerous (but tiny) photographs. Paper edition (unseen), $19.95. Annotation copyright by Book News, Inc., Portland, OR
The Cinema of Attractions Reloaded
Twenty years ago, noted film scholars Tom Gunning and André Gaudreault introduced the phrase “cinema of attractions” to describe the essential qualities of films made in the medium’s earliest days, those produced between 1895 and 1906. Now, The Cinema of Attractions Reloaded critically examines the term and its subsequent wide-ranging use in film studies. The collection opens with a history of the term, tracing the collaboration between Gaudreault and Gunning, the genesis of the term in their attempts to explain the spectacular effects of motion that lay at the heart of early cinema, and the pair’s debts to Sergei Eisenstein and others. This reconstruction is followed by a look at applications of the term to more recent film productions, from the works of the Wachowski brothers to virtual reality and video games. With essays by an impressive collection of international film scholars—and featuring contributions by Gunning and Gaudreault as well—The Cinema of Attractions Reloaded will be necessary reading for all scholars of early film and its continuing influence.
The Cubist Cinema
None
The Music and Sound of Experimental Film
Holly Rogers is Senior Lecturer in Music at Goldsmiths, University of London. Book jacket.
The Palgrave Handbook of Experimental Cinema
Zusammenfassung: This book is a collection of newly commissioned essays by established and emerging scholars that maps out the current landscape of experimental cinema studies and sets agendas for future work in the field. Introducing new critical methodologies and calling overdue attention to neglected artists, regions, and topics, the contributions to this volume reassess and reassert experimental cinema as a site of formal exploration and interrogation as well as resistance to institutional, political, and social norms. This collection articulates what it means for experimental cinema to be these things in the contemporary moment, staking out new directions in thinking about the subject n...
Beyond Spatial Montage
Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for today’s film editors, motion designers, and other media artists.
Feminism and Documentary
Documentary and feminist film studies have long been separate or parallel universes that need to converse or collide. The essays in this volume, written by prominent scholars and filmmakers, demonstrate the challenges that feminist perspectives pose for documentary theory, history, and practice. They also show how fuller attention to documentary enriches and complicates feminist theory, especially regarding the relationship between gender and sexuality, race and ethnicity, class and nation. Feminism and Documentary begins with a substantial historical introduction that highlights several of the specific areas that contributors address: debates over realism, the relationship between filmmaker...
Fluxus Administration
"George Maciunas is typically associated with the famous art collective Fluxus, of which he is often thought to have been the leader. In this book, critic and art historian Colby Chamberlain wants us to question two things: first, the idea that Fluxus was a "group" in any conventional sense, and second, that Maciunas was its "leader." Instead, Chamberlain shows us how Maciunas used the paper materials of bureaucracy in his art-cards, certificates, charts, files, and plans, among others-to subvert his own status as a "figurehead" of this collective and even as a biographical entity. Each of the book's chapters situates Maciunas's artistic practice in relation to a different domain: education,...
On the Camera Arts and Consecutive Matters
The collected writings of artist and filmmaker Hollis Frampton, including all the essays from the long-unavailable Circles of Confusion along with rare additional material. As Hollis Frampton's photographs and celebrated experimental films were testing the boundaries of “the camera arts” in the 1960s and 1970s, his provocative and highly literate writings were attempting to establish an intellectually resonant form of discourse for these critically underexplored fields. It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art. Th...
