@book {expcin16024, title = {Expanded cinema}, series = {Mediaversi}, number = {13}, year = {2013}, pages = {xvi+388}, publisher = {CLUEB}, organization = {CLUEB}, address = {Bologna}, abstract = {

Italian edition of Gene Youngblood{\textquoteright}s Expanded Cinema

}, keywords = {Buckminster Fuller, Carolee Schneemann, Expanded cinema, James Seawright, John Cage, John McHale, John Schofill, John Stehura, John Whitney, John Whitney Jr., Jordan Belson, Michael Snow, Nam June Paik, Otto Piene, Pat O{\textquoteright}Neill, Paul Morrissey, Philip Makanna, Ronald Nameth, Scott Bartlett, Stan Brakhage, Stan VanDerBeek, videotronic, Will Hindle}, isbn = {9788849127881}, author = {Gene Youngblood} } @book {expcin16023, title = {Cine expandido}, year = {2012}, pages = {456 pp}, publisher = {EDUNTREF}, organization = {EDUNTREF}, address = {Buenos Aires}, abstract = {

Translation in Spanish of Gene Youngblood{\textquoteright}s Expanded cinema.

}, keywords = {Buckminster Fuller, Carolee Schneemann, Expanded cinema, James Seawright, John Cage, John McHale, John Schofill, John Stehura, John Whitney, John Whitney Jr., Jordan Belson, Michael Snow, Nam June Paik, Otto Piene, Pat O{\textquoteright}Neill, Paul Morrissey, Philip Makanna, Ronald Nameth, Scott Bartlett, Stan Brakhage, Stan VanDerBeek, videotronic, Will Hindle}, isbn = {9789871889044}, author = {Gene Youngblood} } @article {expcin15987, title = {Expanded Cinema 2. Immersions: Towards the Tactile Cinema / Расширенное кино 2}, year = {2012}, pages = {148 pp}, publisher = {MediaArtLab}, address = {Moscow}, abstract = {

Published by MediaArtLab Centre for Art and Culture for the exhibition "The Immersions. Towards the Tactile Cinema", Ekaterina Cultural Foundation, Moscow, June, 23 {\textemdash} August, 19 2012
Curated by Olga Shishko

}, keywords = {Expanded cinema, Olga Shishko}, url = {http://web.archive.org/web/20130820201602/http://www.mediaartlab.ru/books/mf2012_web.pdf}, author = {Alina Streltsova and Olga Shishko and Chris Hales and Roman Putyatin and Pia Tikka and VALIE EXPORT and Kent Long and Piotr Krajewski and Tom Kohut} } @article {expcin15988, title = {Lo sguardo espanso. Cinema d{\textquoteright}artista italiano 1912-2012}, year = {2012}, pages = {312 pp}, publisher = {Silvana Editoriale}, address = {Milan}, keywords = {Alessandro Mendini, Andrea Granchi, Angela Ricci Lucchi, Anton Giulio Bragaglia, Arcangelo Mazzoleni, Arnaldo Ginna, Bruno Munari, Carmelo Bene, Chiara Dynys, Cionicarpi, Claudio Cintoli, Daniele Puppi, Davide Mosconi, Elisabetta Benassi, Enrico Prampolini, Fabio Mauri, Fernando DeFilippi, Flatform, Fortunato Depero, Francesco Di Cocco, Franco Angeli, Gian, Gianfranco Baruchello, Gianinie Luzzati, Gianni Pettena, Giosetta Fioroni, Gruppo 70, Leonardo Carrano, Luca M. Patella, Magdalo Mussio, Marcello Piccardo, Mario Ceroli, Mario Ferrero, Mario Schifano, Michele Sambin, Mimmo Paladino, Mimmo Rotella, Nato Frasca, Paola Salerno, Paolo Gioli, Pino Pascali, Pippo Oriani, Plinio Martelli, Ra Di Martino, Roberto Lucca Taroni, Rosa Barba, Rosa Foschi, Salvatore Brancato, Silvio Loffredo, Studio Azzurro, Sylvano Bussotti, Thorsten Kirchhoff, Ugo La Pietra, Ugo Nespolo, Umberto Bignardi, Ursula Ferrara, Valentina Berardinone, Valerlo Adami, Virgilio Marchi, Vittorio Loffredo, Yervant Gianikian}, isbn = {9788836625468}, author = {Bruno Di Marino and Marco Meneguzzo and Andrea La Porta and Gina Annunziata and Rinaldo Censi and Antonio Costa and Giacomo Daniele Fragapane and Annamaria Licciardello and Sandra Lischi and Dacia Palmerino and Lisa Parolo and Andrea Piccardo and Giacomo Ravesi and Marco Senaldi} } @article {expcin15989, title = {You Killed Me First: The Cinema of Transgression}, year = {2012}, pages = {175 pp}, publisher = {KW Institute of Contemporary Art/Walther Konig}, address = {Berlin}, abstract = {

Basically, in one sentence, give us the definition of the {\textquoteleft}Cinema of Transgression{\textquoteright}.{\textquotedblright} Nick Zedd: {\textquotedblleft}Fuck you.{\textquotedblright}

Nightmarish scenarios of violence, dramatic states of mind, and perverse sexual abysses {\textendash} the films of the Cinema of Transgression that were consciously aimed at shock, provocation, and confrontation, bear witness to an extraordinary radicality. In the 1980s a group of filmmakers from the Lower East Side in New York went on a collision course with the conventions of American society. Transcending all moral or aesthetic boundaries, the low budget films reveal social hardship met with sociopolitical indifference. Sometimes shot with stolen camera equipment, the films contain strident analyses of life in the Lower East Side defined by criminality, brutality, drugs, AIDS, sex, and excess.\ 

Published to accompany the exhibition You Killed Me First held at KW Institute of Contemporary Art, Berlin, 19th Feb.-9th Apr., 2012.

}, keywords = {Casandra Stark, Cinema of Transgression, David Wojnarowicz, Karen Finley, Kembra Pfahler, Lung Leg, Lydia Lunch, Nick Zedd, Richard Kern, Tessa Hughes-Freeland, Tommy Turner}, isbn = {9783863351571}, url = {http://monoskop.org/log/?p=9962}, author = {Susanne Pfeffer and Sylv{\`e}re Lotringer and Carlo McCormick and Jonas Mekas and Jack Sargeant and Nick Zedd} } @article {expcin15986, title = {Expanded Cinema / Расширенное кино}, year = {2011}, pages = {135 pp}, publisher = {MediaArtLab}, address = {Moscow}, keywords = {Expanded cinema, Olga Shishko}, isbn = {978-5-905110-07-8}, url = {http://web.archive.org/web/20120611230327/http://www.mediaartlab.ru/books/Exp_Cin_2011.pdf}, author = {Alina Ignatova and Olga Shishko and Ursula Frohne and Lev Manovich and Arthur Kroker and Marilouise Kroker and Trond Lundemo and Raymond Bellour and Olesya Turkina and {\'E}rik Bullot and Peter Weibel and Kirill Razlogov} } @article {expcin15984, title = {As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s}, year = {2010}, pages = {259 pp}, publisher = {Museum of Modern Art Warsaw}, address = {Warsaw}, abstract = {

In the late 1960s and {\textquoteright}70s, artists in Yugoslavia rejected the official language of expression licensed by the regime, abstract art, and replaced it with "anti-art". This book explores this crucial period in the Yugoslav art scene and situates it in the broader cultural context of Central and Eastern Europe. The book follows the show "As Soon As I Open My Eyes I See a Film. Experiment in the Art of Yugoslavia in the 1960s and 1970s", Museum of Modern Art in Warsaw, April 24-June 22 2008.

}, keywords = {Antifilm, Yugoslavian Cinema}, isbn = {9788392404439}, author = {Ana Janevski and Stevan Vukovi{\'c} and {\L}ukasz Ronduda and Goran Trbuljak and Hrvoje Turkovi{\'c} and Mihovil Pansini and Slobodan {\v S}ijan and {\v Z}elimir {\v Z}ilnik and Branko Vu{\v c}i{\v c}evi{\'c} and P.Adams Sitney} } @article {expcin15982, title = {film{\textthreesuperior} [{\textquoteleft}kju:bIk fIlm]: New Cubic Films from the Netherlands}, year = {2010}, pages = {392 pp}, publisher = {Amsterdam University Press}, address = {Amsterdam}, abstract = {

In 2004 the Filmbank and the Filmmuseum in Amsterdam published mm2: Experimental Film in the Netherlands, a survey of the classical avant-garde film in the Netherlands. Since then, the media landscape has undergone major changes, and a generation of directors offering fresh perspectives and innovative techniques has emerged. These new developments are the motivation behindfilm3. The editors bring together eleven in-depth interviews with young Dutch visual artists in which they discuss their work and motivation, examine avant-garde filmmaking in the Netherlands during the past decade, and forecast the future of the genre.

}, keywords = {Dutch Film}, isbn = {9789089641991}, author = {Anna Abrahams and Claartje Opdam and Mariska Graveland} } @article {expcin15985, title = {This Is All Film: Experimental Film in Yugoslavia 1951-1991 / Vse to je film: Eksperimentalni film v Jugoslaviji 1951-1991}, year = {2010}, pages = {154 pp}, publisher = {Museum of Modern Art Ljubljana}, address = {Ljubljana}, abstract = {

On the occasion of the exhibtion at the Moderna galerija, Museum of Modern Art, Ljubljana, 22. 12. 2010-28. 2. 2011

}, keywords = {Yugoslavian Cinema}, isbn = {9789612060909}, author = {Bojana Pi{\v s}kur and Tamara Soban and Ana Janevski and Jurij Meden and Miha Pe{\v c}e and Stevan Vukovi{\'c}} } @article {expcin15981, title = {Zelluloid: Film ohne Kamera = cameraless film}, year = {2010}, pages = {190 pp}, publisher = {Schirn Kunsthalle}, address = {Frankfurt}, abstract = {

"Zelluloid" is dedicated to a particular genre of artistic film, in which the image is generated directly, by physically processing the film strip. Unlike other forms of experimental film, the film material is interpreted as if it were a canvas by using a diverse range of artistic processes: through painting, drawing, collage on the celluloid, scores and scratches in the photographic emulsion, chemical manipulation or the direct lighting of photo-sensitive media. Such were the origins of the cinematic avant-garde, which researches even the material nature of the medium of film and at the same time sounds out its relationship with the visual arts and also with music in ever-changing approaches. The exhibition catalogue contains outstanding examples of "films without a camera" and features approximately 20 international artists and filmmakers from the 1930s to the present day.

Exhibition: Schirn Kunsthalle, Frankfurt (2.06 - 29.08.2010).

Artists featured in the exhibiton: Stan Brakhage, Tony Conrad, Cécile Fontaine, Amy Granat, Ian Helliwell, Hy Hirsh, Takahiko Iimura, Emmanuel Lefrant, Len Lye, Norman McLaren, Bärbel Neubauer, Luis Recoder, Jennifer Reeves, Dieter Roth, Pierre Rovère, Schmelzdahin, José Antonio Sistiaga, Harry Smith, Aldo Tambellini, Marcelle Thirache, Jennifer West.

}, keywords = {Aldo Tambellini, Amy Granat, Bärbel Neubauer, cameraless film, Cécile Fontaine, Dieter Roth, Emmanuel Lefrant, Harry Smith, Hy Hirsh, Ian Helliwell, Jennifer Reeves, Jennifer West, Jos{\'e} Antonio Sistiaga, Len Lye, Luis Recoder, Marcelle Thirache, Norman McLaren, Pierre Rovère, Schmelzdahin, Stan Brakhage, Takahiko Iimura, Tony Conrad}, isbn = {9783866783959}, url = {https://monoskop.org/images/d/dd/Schlicht_Esther_Hollein_Max_eds_Zelluloid_Camera_Less_Film_Film_ohne_Kamera.pdf}, author = {Esther Schlicht and Max Hollein} } @book {expcin15997, title = {Experimental Film and Video: An Anthology}, year = {2006}, pages = {302 pp}, publisher = {John Libbey Publishing}, organization = {John Libbey Publishing}, address = {Eastleigh}, abstract = {

The past 40 years of technological innovation have significantly altered the materials of production and revolutionized the possibilities for experiment and exhibition. Not since the invention of film has there been such a critical period of major change in the imaging technologies accessible to artists. Bringing together key artists in film, video, and digital media, the anthology of Experimental Film and Video revisits the divergent philosophical and critical discourses of the 1970s and repositions these debates relative to contemporary practice. Forty artists have contributed images, and 25 artists reflect on the diverse critical agendas, contexts, and communities that have affected their practice across the period from the late 1960s to date. Along with an introduction by Jackie Hatfield and forewords by Sean Cubitt and Al Rees, this illustrated anthology includes interviews and recent essays by filmmakers, video artists, and pioneers of interactive cinema. Experimental Film and Video opens up the conceptual avenues for future practice and related critical writing.

}, keywords = {Andrew K{\~o}tting, Anthony McCall, Brad Butler, Catherine Elwes, Chantal Akerman, Chris Meigh-Andrews, Chris Welsby, Daniel Reeves, David Critchley, David Hall, David Larcher, George Barber, Grahame Weinbren, Guy Sherwin, Jackie Hatfield, Jayne Parker, Jeremy Welsh, Jo Ann Millet, John Smith, Karen Mirza, Katherine Meynell, Kayla Parker, Lis Rhodes, Malcolm Le Grice, Mike Leggett, Nicky Hamlyn, Nina Danino, Peter Gidal, Rob Gawthrop, Sarah Pucill, Stephen Hawley, Stephen Littman, Stephen Partridge, Tamara Krikorian, texts by artists, Tina Keane, Tony Sinden, Vicky Smith, William Raban}, isbn = {978-0-86196-906-7}, author = {Susanna Poole and Gareth Evans and Stephen Littman and Grahame Weinbren and Peter Gidal and Chris Welsby and Nicky Hamlyn and Jayne Parker and Rob Gawthrop and Anthony McCall and Lis Rhodes and Sarah Pucill and Nina Danino and Katherine Meynell and David Critchley and Chris Meigh-Andrews and Andrew K{\~o}tting and Daniel Reeves and Vicky Smith and Karen Mirza and Brad Butler and Stephen Partridge and Catherine Elwes and Malcolm Le Grice and Mike Leggett}, editor = {Jackie Hatfield} } @book {bonet2005proximamente, title = {Pr{\'o}ximamente en esta pantalla: el cine letrista, entre la discrepancia y la sublevaci{\'o}n}, year = {2005}, pages = {341 pp}, publisher = {Museu d{\textquoteright}Art Contemporani de Barcelona}, organization = {Museu d{\textquoteright}Art Contemporani de Barcelona}, address = {Barcelona}, abstract = {

El letrismo es un movimiento de vanguardia poco conocido fuera de Francia o del arte experimental. Empez{\'o} con la innovaci{\'o}n po{\'e}tica y musical, y luego fue abri{\'e}ndose al arte, la cultura y el pensamiento. Este volumen se centra en el cine letrista, que desde 1951 se convirti{\'o} en uno de los elementos clave del movimiento

}, keywords = {Isidore Isou, Lettrist Cinema, Maurice Lema{\^\i}tre}, issn = {9788489771192}, author = {Eduard Escoffet and Eugeni Bonet} } @book {expcin16007, title = {{\'E}crits sur l{\textquoteright}art et le cin{\'e}ma}, year = {2004}, pages = {120 pp}, publisher = {Paris exp{\'e}rimental}, organization = {Paris exp{\'e}rimental}, address = {Paris}, abstract = {

Contains the translation of "An Anagram of Ideas on Art, Form and Film" (1946) and "The creative use of Cinematography as the reality" (1960). Includes filmography \& bibliography

}, keywords = {Maya Deren}, isbn = {9782912539229}, author = {Maya Deren}, editor = {{\'E}ric Alloi and Julie Beaulieu} } @book {expcin15983, title = {mm2: Experimental Film in the Netherlands since 1960}, year = {2004}, pages = {286 pp}, publisher = {Filmbank, Uitgeverij de Balie}, organization = {Filmbank, Uitgeverij de Balie}, address = {Amsterdam}, abstract = {

mm2 presents an overall picture of experimental film in the Netherlands since 1960. Each and every film mentioned is an expression of an inquiring mentality that, for each film convention, poses the question whether or not it can be done differently. The book contains a historical review, sixteen extensive interviews with authoritative experimental filmmakers and more than a hundred filmographies. Issued with a DVD entitled "Cadavre exquis : le cadvre exquis verra le film nouveau", a documentary film directed by Anna Abrahams and produced by Rongwrong. The film includes interviews with several experimental filmmakers as well as excerpts of their work.

}, keywords = {Dutch Film}, isbn = {9789066173064}, author = {Anna Abrahams and Mariska Graveland and Peter van Hoof and Erwin van {\textquoteleft}t Hart} } @article {expcin15979, title = {Placing spaces, spacing places : Canadian experimental films \& videos since 1990}, year = {2003}, pages = {35 pp}, publisher = {Mount Saint Vincent University Art Gallery}, address = {Halifax}, abstract = {

Contents:

}, keywords = {Canadian Cinema}, isbn = {9781894518161}, author = {Gerda Cammaer and Paulette Phillips and Dennis Day and Manon Labreque and Daniel Cockburn and Gunilla Josephson and Ian Toews and Paul Landon and Michael Yaroshevsky and Barbara Sternberg and Jean Th{\'e}berge and Jason Britski and Phillip Hoffman and Michael Crocheti{\`e}re and Emanuel Avenel and Marie-France Giraudon and Nelson Henricks and Kika Thorne and John Price and Benny Nemerofsky Ramsay and Serge Cardinal and Nikki Forrest} } @book {expcin15994, title = {Experimental Cinema: The Film Reader}, year = {2002}, pages = {356 pp}, publisher = {Routledge}, organization = {Routledge}, address = {New York/London}, abstract = {

Brings together key writings on American avant-garde cinema to explore the long tradition of underground filmmaking from its origins in the 1920s to the work of contemporary film and video artists.

}, keywords = {Agn{\`e}s Varda, Andy Warhol, Barbara Hammer, Black cinema, Carolee Schneemann, Chantal Akerman, Female cinema, Gay cinema, Germaine Dulac, Hollis Frampton, Jack Smith, Kenneth Anger, Maya Deren, Michael Snow, Stan Brakhage, Su Friedrich, Trinh T. Minh-ha, Warren Sonbert, Yoko Ono}, isbn = {9780415277877}, author = {Jan-Christopher Horak and Jonas Mekas and Lauren Rabinovitz and Agn{\`e}s Varda and Juan Antonio Su{\'a}rez and Suranjan Ganguly and Jerry Tartaglia and Kate Haug and Reva Wolf and Daryl Chin and Yoko Ono and P.Adams Sitney and Scott MacDonald and Philip Lopate and David Ehrenstein and Peter Gidal and Chris Holmlund and Gloria J. Gibson and Kobena Mercer}, editor = {Wheeler Winston-Dixon and Gwendolyn Audrey Foster} } @book {expcin16095, title = {Le cin{\'e}ma visionnaire: L{\textquoteright}Avant-garde am{\'e}ricaine (1943-2000)}, year = {2002}, pages = {440 pp}, publisher = {Paris Expérimental}, organization = {Paris Expérimental}, address = {Paris}, abstract = {

French translation of the 3rd edition of Visionary Film

Traduit de l{\textquoteright}anglais par Pip Chodorov et Christian Lebrat, avec la collaboration de Vincent Deville et Chloé Donati.

}, keywords = {American Cinema, Christopher MacLaine, Gregory Markopoulos, Jordan Belson, Kenneth Anger, Maya Deren, Michael Snow, Robert Breer, Sidney Peterson, Stan Brakhage}, isbn = {9782912539083}, author = {P.Adams Sitney} } @article {expcin15978, title = {Shoot Shoot Shoot: The First Decade of the London Film-Makers{\textquoteright} Co-operative and British Avant-Garde Film 1966-1976}, year = {2002}, month = {05/2002}, pages = {8 pp}, publisher = {LUX}, address = {London}, abstract = {

Broadsheet for the film exhibition curated by Mark Webber and organised by LUX London. Includes film descriptions, chronology of events and developments 1966-76, and the article by A.L. Rees.

}, keywords = {British Cinema}, url = {https://monoskop.org/log/?p=2614}, author = {Mark Webber and A. L. Rees} } @book {expcin16083, title = {Storia del cinema sperimentale}, year = {2002}, pages = {319 pp}, publisher = {CLUEB}, organization = {CLUEB}, address = {Bologna}, abstract = {

Italian translation of Jean Mitry{\textquoteright}s "Le Cinema Experimental: Histoire et Perspectives"

}, keywords = {Experimental film history}, isbn = {9788849118513}, author = {Jean Mitry} } @article {expcin15980, title = {Jeune, dure et pure! Une histoire du cin{\'e}ma d{\textquoteright}avant-garde et exp{\'e}rimental en France}, year = {2000}, publisher = {Cin{\'e}math{\`e}que fran{\c c}aise}, address = {Paris}, abstract = {

This is the entire program, in French, of this retrospective screening at the Cin{\'e}math{\`e}que fran{\c c}aise/Mazzotta between May 3 and July 2, 2000.

}, keywords = {French Cinema}, author = {Nicole Brenez and Christian Lebrat} } @article {expcin15977, title = {Jeune, dure et pure! Une histoire du cin{\'e}ma d{\textquoteright}avant-garde et exp{\'e}rimental en France}, year = {2000}, pages = {591 pp}, publisher = {Cin{\'e}math{\`e}que fran{\c c}aise/Mazzotta}, address = {Paris and Milan}, abstract = {

Published on the occasion of the retrospective screening at the Cin{\'e}math{\`e}que fran{\c c}aise/Mazzotta between May 3 and July 2, 2000.

}, keywords = {French Cinema}, isbn = {9782900596302}, author = {Nicole Brenez and Christian Lebrat} } @article {expcin15976, title = {Articulated Light: The Emergence of Abstract Film in America}, year = {1995}, pages = {16 pp}, publisher = {Harvard Film Archive \& Anthology Film Archives}, address = {Boston}, keywords = {abstract film, Anthology Film Archives, Harvard Film Archive}, url = {http://monoskop.org/log/?p=10155}, author = {Bruce Posner and Gerald O{\textquoteright}Grady} } @article {expcin15975, title = {Desmontaje: film, v{\'\i}deo, apropiaci{\'o}n, reciclaje}, year = {1993}, pages = {205 pp}, publisher = {Institut Valencià d{\textquoteright}Art Modern}, address = {Valencia}, abstract = {

Catalog of the exhibition held at IVAM Centre Julio González and other venues Feb. 26-June 8, 1993. Bonet introduces this investigation of the use of found footage in film and video with a history of the genre. Five essayists discuss "scratch video," found imagery composed entirely of quoted material, the use of archival footage, and the impact and principles of collage. With comments (mostly reprinted) on works by 60 artists and collectives.

}, keywords = {Found footage}, isbn = {9788448201319}, author = {Eugeni Bonet and William C Wees and John Wyver and Catherine Elwes and Joel Katz and Yann Beauvais and Ken Jacobs} } @book {expcin16041, title = {Cin{\'e}-Journal: Un nouveau cin{\'e}ma am{\'e}ricain (1959-1971)}, series = {Classiques de l{\textquoteright}Avant-Garde}, number = {3}, year = {1992}, pages = {400 pp}, publisher = {Paris exp{\'e}rimental}, organization = {Paris exp{\'e}rimental}, address = {Paris}, abstract = {

French translation of Jonas Mekas{\textquoteright} Movie Journal

}, keywords = {American Cinema}, issn = {2-9500635-3-5}, author = {Jonas Mekas}, editor = {Dominique Noguez} } @book {expcin15993, title = {F.I.L.M. A magyar avantgarde film t{\"o}rt{\'e}nete {\'e}s dokumentumai}, year = {1991}, pages = {351 pp}, publisher = {Jelenkor}, organization = {Jelenkor}, address = {Budapest}, keywords = {Hungarian Cinema}, isbn = {9789633365519}, url = {http://catalog.c3.hu/mediatortenet/PDF/FILM.pdf}, editor = {Mikl{\'o}s Petern{\'a}k} } @book {expcin16112, title = {Das Experimentalfilm-Handbuch}, series = {Schriftenreihe des Deutschen Filmmuseums Frankfurt}, year = {1989}, pages = {385 pp}, publisher = {Deutsches Filminstitut}, organization = {Deutsches Filminstitut}, address = {Frankfurt am Main}, abstract = {

Informatives Nachschlagewerk {\"u}ber ein Genre am Rande der {\"o}ffentlichen Wahrnehmung. F{\"u}r Organisatoren, Praktiker, Theoretiker und Interessierte.

}, issn = {9783887990336}, editor = {Ingo Petzke} } @book {expcin16111, title = {Film at Wit{\textquoteright}s End: Eight Avant-garde Filmmakers}, year = {1989}, pages = {183 pp}, publisher = {Documentext}, organization = {Documentext}, address = {Kingston, New York}, abstract = {}, keywords = {Bruce Conner, Christopher MacLaine, James Broughton, Jerome Hill, Ken Jacobs, Marie Menken, Maya Deren, Sidney Peterson}, isbn = {9780914232995}, author = {Stan Brakhage} } @article {expcin15974, title = {Independent America: New Film 1978-1988}, year = {1988}, pages = {93 pp}, publisher = {American Museum of the Moving Image}, address = {New York}, abstract = {

Catalogue for the film retrospective at the American Museum of the Moving Image, October 7-November 11, 1988

}, keywords = {American Cinema, Museum of the Moving Image}, author = {David Schwartz and Jonathan Rosenbaum and Steve Anker and Berenice Reynaud and David Schwartz} } @book {expcin16110, title = {Cinema marginal, 1968-1973: A representação em seu limite}, year = {1987}, pages = {156 pp}, publisher = {Editora Brasiliense}, organization = {Editora Brasiliense}, address = {Sao Paulo}, abstract = {

O Bandido da Luz Vermelha, de Rog{\'e}rio Sganzerla, Matou a Fam{\'\i}lia e Foi ao Cinema, de J{\'u}lio Bressane, A Margem, de Ozualdo Candeias. Produzidos sob o signo da rebeldia durante o auge da Ditadura Militar, da censura e da tortura, esses filmes fizeram parte de um movimento {\'u}nico dentro do panorama cinematogr{\'a}fico brasileiro: o Cinema Marginal. Reerguendo ideais deixados pelo Cinema Novo, seus diretores rejeitaram sistematicamente aderir ao cinema comercial, levando at{\'e} as {\'u}ltimas consequ{\^e}ncias os limites que existiam entre a exibi{\c c}{\~a}o de seus filmes e o que seria o objeto natural de sua a{\c c}{\~a}o, o povo. Neste livro, Fern{\~a}o Ramos tra{\c c}a os contornos da produ{\c c}{\~a}o marginal em S{\~a}o Paulo, Rio e Salvador, entre 1968 e 1973, e apresenta a est{\'e}tica do lixo, al{\'e}m de reunir uma filmografia completa de todos os filmes do Cinema Marginal.

}, keywords = {Brazilian Cinema, Cinema Marginal}, author = {Fernão Ramos} } @book {expcin15992, title = {Teorija {\v c}eske avangarde 1908-1937}, year = {1987}, pages = {86 pp}, publisher = {Institut za film}, organization = {Institut za film}, address = {Belgrade}, abstract = {

Anthology of Czech texts about avant-garde film.

}, keywords = {Czech Cinema}, url = {https://monoskop.org/images/8/82/Andjel_Stanivuk_ur_Teorija_ceske_avangarde_1908-1937.pdf}, author = {Jaroslav Andjel and Vaclav Tile and Karel Capek and Jo{\v z}ef Capek and Franti{\v s}ek Langer and Jan Mukar{\v z}ovski and Roman Jakobson and Milo{\v s} Vajngart and Emil Franti{\v s}ek Burijan and Vladislav Vancura and Jind{\v z}ih Honzl}, editor = {Jaroslav Andjel and Ljubica Stanivuk} } @book {expcin16106, title = {Cinema de Inven{\c c}{\~a}o}, series = {CINEMAX}, year = {1986}, pages = {304 pp}, publisher = {Editora Max Limonad}, organization = {Editora Max Limonad}, address = {Sao Paulo}, url = {http://cinema-de-invencao.blogspot.com/}, author = {Jairo Ferreira} } @book {expcin16109, title = {Eksperimentalfilm i Danmark}, year = {1986}, pages = {183 pp}, publisher = {Borgen}, organization = {Borgen}, address = {Copenhagen}, keywords = {Danish Cinema}, isbn = {9788741875729}, author = {Helge Krarup and Carl Norrested} } @book {expcin16105, title = {Abstraction in Avant-garde Films}, series = {Studies in Cinema}, volume = {32}, year = {1985}, pages = {165 pp}, publisher = {UMI Research Press}, organization = {UMI Research Press}, address = {Ann Arbor}, abstract = {

Revision of the author{\textquoteright}s thesis (doctoral)--University of Wisconsin-Madison, 1978.

}, keywords = {abstract film, Barry Gerson, Ernie Gehr, Hollis Frampton, Larry Gottheim, Michael Snow, Paul Sharits}, isbn = {9780835716291}, url = {https://monoskop.org/images/7/78/Turim_Maureen_Cheryn_Abstraction_in_Avant_Garde_Films.pdf}, author = {Maureen Cheryn Turim} } @article {expcin15973, title = {Het Experiment in de Nederlandse Film}, year = {1985}, pages = {36 pp}, publisher = {Stedelijk Museum Amsterdam}, address = {Amsterdam}, abstract = {

On Babeth, Matthijs Blonk, Mari Boeyen, Marinus Boezem, Ben van Bussche, Michel Cardena, Jan Dibbets, Ger van Elk, Sander Francken, Andreas Hamelberg, Noud Heerkens, Nan Hoover, Gredrieke Jochems, Jan Ketelaars, Johan van der Keuken, Christine Koenigs, Claudia K{\"o}lgen, Wierd Kramer, Eric de Kuyper, Wim van der Linden, Edward Luyken, Marijn Maris, Barbara Meter, Paul de Mol, Ruud Monster, Jan van Munster, Paul de Nooijer, Henri Plaat, Mattijn Seip, Daniel Singelenberg, Frans van de Staak, Bart Vegter, Willem Veldhoven, Jacques Verbeek \& Karin Wiertz, Dick Verdult, Alex Vermeulen and Frans Zwartjes.

}, keywords = {Alex Vermeulen, Andreas Hamelberg, Babeth, Barbara Meter, Bart Vegter, Ben van Bussche, Christine Koenigs, Claudia K{\"o}lgen, Daniel Singelenberg, Dick Verdult, Dutch Film, Edward Luyken, Eric de Kuyper, Frans van de Staak, Frans Zwartjes, Ger van Elk, Gredrieke Jochems, Henri Plaat, Jacques Verbeek \& Karin Wiertz, Jan Dibbets, Jan Ketelaars, Jan van Munster, Johan van der Keuken, Mari Boeyen, Marijn Maris, Marinus Boezem, Matthijs Blonk, Mattijn Seip, Michel Cardena, Nan Hoover, Noud Heerkens, Paul de Nooijer, Ruud Monster, Sander Francken, Wierd Kramer, Willem Veldhoven, Wim van der Linden}, author = {Paul de Mol and Nelly Voorhuis and Hendrik Driessen} } @book {expcin15972, title = {Paris vu par le cin{\'e}ma d{\textquoteright}avant-garde: 1923-1983}, year = {1985}, pages = {128 pp}, publisher = {Paris exp{\'e}rimental}, organization = {Paris exp{\'e}rimental}, address = {Paris}, abstract = {

Published on the occasion of the retrospective held at the Mus{\'e}e national d{\textquoteright}art moderne, Centre Georges Pompidou (November 14-December 15, 1985)

}, keywords = {French Cinema, Paris}, isbn = {9782950063502}, author = {Prosper Hillairet and Christian Lebrat and Patrice Rollet} } @article {expcin16103, title = {Andere Avant Garde: Brucknerhaus Linz, Festival 16.9.-20.9.1983, Ausstellung 16.9.-7.10.1983}, year = {1983}, pages = {181 pp}, publisher = {Druck- und Verlagsanstalt Gutenberg}, address = {Linz}, url = {http://kok.memoryoftheworld.org/$\#$text=Avangardni+film\&property=title\&librarian=Kenneth+Jungius}, author = {Claudia Preschl and Andrea Stadlmayr and Sabrina Unger} } @book {expcin16096, title = {Circles of Confusion: Film/Photography/Video Texts 1968-1981}, year = {1983}, pages = {200 pp}, publisher = {Visual Studies Workshop Press}, organization = {Visual Studies Workshop Press}, abstract = {

Hollis Frampton is most well known as an independent filmmaker, but has been lecturing and writing about photography, film and video for a long time and in many places and publications. Circles of Confusion assembles eleven articles from exhibition catalogs and from October and Artforum. What Frampton does as a critic is much like what he does as a filmmaker, which is to strip the creative process down to its basic elements, then arrange and display the components..

Framptont{\textquoteright}s role in this is critic-as-conjurer . He prestidigitates ideas and illusions from everywhere{\textendash}history, psychology, philosophy, literature, even archaeology, whatever might apply. However much he may circle, though, he always comes back to basic ontological questions. What is photography? Film? Video? What are the properties that make them unique? What has film to do with narrative? Photography with space and time? Beyond a king these questions Frampton also conjectures about the possible ways of asking them and the likelihood of getting an answer. He also plays the role of critic-as-authoritative-voice, but by exposing the jagged mechanisms of thought makes the reader much more than a participant in the process than is usually the case.

}, keywords = {Hollis Frampton}, isbn = {9780898220209}, url = {https://monoskop.org/log/?p=766}, author = {Hollis Frampton} } @article {expcin15971, title = {Film/m{\H u}v{\'e}szet (a magyar k{\'\i}s{\'e}rleti film t{\"o}rt{\'e}nete)}, year = {1983}, pages = {56 pp}, publisher = {Budapest Gal{\'e}ria}, address = {Budapest}, abstract = {

Catalogue for the exhibition held at the Budapest History Museum (February 25-March 18, 1983). Both the catalogue and the exhibition were put together by Mikl{\'o}s Petern{\'a}k.

}, keywords = {Hungarian Cinema}, url = {http://catalog.c3.hu/mediatortenet/PDF/FILMMUVESZET_WEB.pdf}, author = {Mikl{\'o}s Petern{\'a}k} } @book {expcin16102, title = {Languages of Revolt: Dada and Surrealist Literature and Film}, year = {1983}, pages = {166 pp}, publisher = {Duke University Press}, organization = {Duke University Press}, address = {Durham, North Carolina}, keywords = {Dada, Surrealism}, isbn = {9780822304937}, author = {Inez Hedges} } @book {bonet1983practica, title = {Pr{\'a}ctica f{\'\i}lmica y vanguardia art{\'\i}stica en Espa{\~n}a, 1925-1981}, year = {1983}, pages = {108 pp}, publisher = {Universidad Complutense de Madrid}, organization = {Universidad Complutense de Madrid}, address = {Madrid}, keywords = {Iv{\'a}n Zulueta, Javier Aguirre, Jos{\'e} Antonio Sistiaga, Jos{\'e} Val del Omar, Pere Portabella, Spanish Cinema}, issn = {84-7491-059-5}, url = {http://e-archivo.uc3m.es/bitstream/handle/10016/11433/Practica\%20filmica.pdf}, author = {Manuel Palacio and Eugeni Bonet} } @article {expcin15970, title = {Trente ans de cin{\'e}ma exp{\'e}rimental en France: 1950-1980}, year = {1982}, pages = {117 pp}, publisher = {Association pour le Rayonnement du Cin{\'e}ma Exp{\'e}rimental Fran{\c c}ais (A.R.C.E.F.)}, abstract = {

Catalogue d{\textquoteright}une importante r{\'e}trospective, pr{\'e}sent{\'e}e en 1982 au Centre Georges Pompidou, {\`a} la Vid{\'e}oth{\`e}que de Paris et {\`a} la Cin{\'e}math{\`e}que fran{\c c}aise. Textes et Dictionnaire des cin{\'e}astes. Nombreuses illustrations.

}, keywords = {French Cinema}, author = {Dominique Noguez} } @book {expcin16091, title = {The German Experimental Film of the Seventies}, year = {1980}, pages = {48 pp}, publisher = {Goethe-Institut}, organization = {Goethe-Institut}, address = {Munich}, abstract = {

Fine softcover illustrated exhibit catalog. With cards on Dore O. Nekes, Bastian Clev{\'e}, Wilhelm and Birgit Hein, Klaus Wyborny, Heinz Emigholz, Werner Nekes.

}, keywords = {Bastian Clev{\'e}, Birgit Hein, Dore O, German Cinema, Heinz Emigholz, Klaus Wyborny, Werner Nekes, Wilhelm Hein}, editor = {Ulrich Gregor} } @book {expcin16090, title = {{\'E}loge du cin{\'e}ma exp{\'e}rimental: Definitions, Jalons, Perspectives}, year = {1979}, pages = {189 pp}, publisher = {Paris exp{\'e}rimental and Centre Georges Pompidou}, organization = {Paris exp{\'e}rimental and Centre Georges Pompidou}, address = {Paris}, abstract = {

Histoire du cinema exp{\'e}rimental et underground, depuis le futurisme jusqu{\textquoteright}{\`a} nos jours, avec des chapitres sur Warhol, Mekas, McLaren, Kubelka, OKI et une incursion dans l{\textquoteright}art contemporain.

}, keywords = {Experimental film history}, isbn = {9782858500833}, author = {Dominique Noguez} } @article {expcin15908, title = {Film as Film: Formal Experiment in Film 1910-1975}, year = {1979}, pages = {152 pp}, publisher = {Arts Council of Great Britain}, address = {London}, abstract = {

Catalogue for an exhibition held at Hayward Gallery, London, in May-June 1979, derived from a project originally conceived by Birgit Hein and Wulf Herzogenrath and shown at the Kunstverein in Cologne in the previous year.

With texts by Phillip Drummond, A.L. Rees, Birgit Hein, Wulf Herzogenrath, Malcolm Le Grice, Ian Christie, Peter Weibel, Deke Dusinberre and William Moritz.

}, keywords = {Experimental film history}, isbn = {0728702002}, url = {http://monoskop.org/log/?p=10154}, author = {Birgit Hein and A. L. Rees and Deke Dusinberre and Ian Christie and Malcolm Le Grice and Peter Weibel and Phillip Drummond and William Moritz and Wulf Herzogenrath}, editor = {David Curtis and Richard Francis} } @book {expcin15991, title = {The Avant-garde Film: A Reader of Theory and Criticism}, series = { Anthology film archives}, number = {3}, year = {1978}, pages = {295 pp}, publisher = {New York University Press}, organization = {New York University Press}, address = {New York}, abstract = {

This anthology is both a history of the avant-garde film genre and a compendium of theories of cinema articulated by major filmmakers. The 33 selections include several previously unpublished theoretical and critical articles and many articles that were especially translated into English for this collection. Other selections were drawn from interviews and from lectures contained in the Anthology Film Archives.

}, keywords = {Andy Warhol, Anthony McCall, Antonin Artaud, Ernie Gehr, Germaine Dulac, Hans Richter, Harry Smith, Hollis Frampton, James Broughton, James Whitney, Jean Epstein, John Whitney, Jonas Mekas, Joseph Cornell, Maya Deren, Michael Snow, Paul Sharits, Peter Kubelka, Sergei Eisenstein, Sidney Peterson, Stan Brakhage, Tony Conrad}, isbn = {9780814777930}, author = {P.Adams Sitney and Sergei Eisenstein and Hans Richter and Jean Epstein and Germaine Dulac and Antonin Artaud and Joseph Cornell and Maya Deren and Sidney Peterson and James Broughton and John Whitney and James Whitney and Harry Smith and Carel Rowe and Stan Brakhage and Peter Kubelka and Stephen Koch and Annette Michelson and Michael Snow and Jonas Mekas and Ernie Gehr and Anthony McCall and Paul Sharits and Tony Conrad and Hollis Frampton} } @article {bonet1978there, title = {There is an Independent Cinema in Spain, but...}, journal = {Millenium Film Journal}, year = {1978}, pages = {18 pp}, chapter = {59}, keywords = {Spanish Cinema}, url = {http://www.mfj-online.org/issues/mfj-no-2-springsummer-1978/}, author = {Eugeni Bonet} } @book {expcin16089, title = {Οι Πρωτοπορίες στον κινηματογράφο}, year = {1978}, pages = {31 pp}, publisher = {Kastaniotis}, organization = {Kastaniotis}, address = {Athens}, url = {https://monoskop.org/images/8/88/Rentzis_Thanasis_\%CE\%9F\%CE\%B9_\%CE\%A0\%CF\%81\%CF\%89\%CF\%84\%CE\%BF\%CF\%80\%CE\%BF\%CF\%81\%CE\%AF\%CE\%B5\%CF\%82_\%CF\%83\%CF\%84\%CE\%BF\%CE\%BD_\%CE\%BA\%CE\%B9\%CE\%BD\%CE\%B7\%CE\%BC\%CE\%B1\%CF\%84\%CE\%BF\%CE\%B3\%CF\%81\%CE\%AC\%CF\%86\%CE\%BF.pdf} } @book {expcin16088, title = {Abstract Film and Beyond}, year = {1977}, pages = {160 pp}, publisher = {MIT Press}, organization = {MIT Press}, address = {Cambridge, Mass.}, keywords = {abstract film}, isbn = {9780262120777}, author = {Malcolm Le Grice} } @article {expcin15909, title = {Film als Film: 1910 bis heute}, year = {1977}, pages = {300 pp}, publisher = {Gerd Hatje Verlag, K{\"o}lnischer Kunstverein \& Museum Folkwang}, address = {Stuttgart}, abstract = {

Comprehensive catalogue/book by Birgit Hein and Wulf Herzogenrath of works by the main avant-garde filmmakers in Eastern and Western Europe, North America and Britain. Includes full notes on the films, historical essays on areas and movements {\textendash} Polish, French, British, Fluxus, West Coast, New York underground, Structural-Materialist, Expanded, etc.

}, keywords = {Experimental film history}, isbn = {9783775701259}, author = {Birgit Hein and Wulf Herzogenrath} } @book {expcin16087, title = {{\v C}esk{\'a} avantgarda a film}, year = {1976}, pages = {207 pp}, publisher = {{\v C}s. filmov{\'y} {\'u}stav}, organization = {{\v C}s. filmov{\'y} {\'u}stav}, address = {Prague}, keywords = {Czech Cinema}, author = {Viktoria Hradsk{\'a}} } @book {expcin15990, title = {Structural Film Anthology}, year = {1976}, pages = {144 pp}, publisher = {British Film Institute}, organization = {British Film Institute}, address = {London}, abstract = {

{\textquotedblleft}This anthology of texts about what have been termed Structural Films attempts to bring together some of the more important essays and articles on those films which have formed the core of film work in this field since its inception. It is a first attempt to bring together texts from Europe, Britain and the United States. In the past we have been inundated with the parochial, American view of avant-garde film work, as expounded on both sides of the Atlantic. This anthology was published to coincide with the series of eighteen programmes, Structural Film Retrospective, at the National Film Theatre, London, in May 1976.

As it happened, no film-maker was included in the programmes who had not produced relevant work before 1971, though many works were from after that year. No new films were introduced; this was a retrospective programme intended to enable a viewing that saw each film in the context of each other film, that could recognise alliances and misalliances between films, that could attempt to deal with the individual filmworks and the critical practice which preceded or followed.

In some cases, the critical practice here is a virtually complete repression through ideology of the text of the film; in the gaps presented work can now take place. The lengths of the sections are dictated by the materials of interest available, and unfortunately in a few cases only very slight material existed. I hope that the selection will not offend; the younger Americans have been left out, as have many of the younger British, because of the wish for a solid retrospective programme as elucidated above. No doubt there are quite a few film-makers completely unknown to me, and to nearly everyone else, who have done and may be doing very important work, and whose work remains {\textquoteleft}out of view{\textquoteright} for a variety of sociological reasons, none of which are praiseworthy. I wish to thank all the film-makers and writers, obviously.

For this reprint nothing has been changed, though a few minor errors have been corrected and Ben Brewster{\textquoteright}s review of the Anthology inScreen has been included as an afterward. I call attention to the {\textquoteleft}Theory and Definition of Structural/Materialist Film{\textquoteright} article in its original form in Studio International (November 1975), and to Deke Dusinberre{\textquoteright}s article relating to it in Screen (Summer 1977). P.G., January 1978" (Introduction)

}, keywords = {Birgit Hein, David Crosswaite, Fred Drummond, George Landow, Gill Eatherley, Hollis Frampton, John Du Cane, Joyce Wieland, Ken Jacobs, Kurt Kren, Malcolm Le Grice, materialist film, Michael Snow, Mike Dunford, Mike Leggett, Paul Sharits, Peter Gidal, Peter Kubelka, Roger Hammond, structural film, Tony Conrad, Wilhelm Hein, William Raban}, isbn = {9780851700533}, url = {http://monoskop.org/log/?p=2612}, author = {Peter Gidal and Malcolm Le Grice and Michael Snow and Hollis Frampton and Mike Dunford and Paul Sharits and Jonas Mekas and Birgit Hein and Gill Eatherley and George Landow and Fred Camper and William Raban and Fred Drummond and David Curtis and Ben Brewster and John Du Cane and Regina Cornwell and Gordon Gow and Simon Hartog and Annette Michelson and Lois Mendelson and Verina Glaessner} } @book {expcin16043, title = {Diario de cine: el nacimiento del nuevo cine americano}, year = {1975}, pages = {550 pp}, publisher = {Fundamentos}, organization = {Fundamentos}, address = {Caracas}, abstract = {

Spanish Translation of Jonas Mekas{\textquoteright} Movie Journal

}, keywords = {American Cinema}, isbn = {9788424501600}, author = {Jonas Mekas} } @book {expcin16086, title = {The Essential Cinema: Essays on the Films in the Collection of Anthology Film Archives}, series = {Anthology Film Archives series}, volume = {2}, year = {1975}, pages = {380 pp}, publisher = {Anthology Film Archives}, organization = {Anthology Film Archives}, address = {New York}, abstract = {

Essays by filmmakers and scholars of the avant-garde, written with a wide range of approaches ranging from the theoretical to the purely personal, intended to reinforce appreciation of the films chosen by the archive for inclusion in its Essential Cinema Collection.

}, isbn = {9780814777671}, editor = {P.Adams Sitney} } @book {expcin16085, title = {Film is ...: The International Free Cinema}, year = {1975}, pages = {268 pp}, publisher = {Peter Owen Publishers}, organization = {Peter Owen Publishers}, address = {London}, keywords = {Experimental film history}, isbn = {9780720692013}, author = {Stephen Dwoskin} } @book {expcin16081, title = {Eine Subgeschichte des Films. Lexikon des Avantgarde-, Experimental- und Undergroundfilms}, year = {1974}, pages = {1315 pp}, publisher = {Edition Suhrkamp}, organization = {Edition Suhrkamp}, address = {Frankurt am Main}, isbn = {9783518004715}, author = {Hans Scheugl and Ernst Schmidt jr.} } @book {expcin16080, title = {Film as a Subversive Art}, year = {1974}, pages = {336 pp}, publisher = {C. T. Editions}, organization = {C. T. Editions}, isbn = {9780394490786}, url = {https://monoskop.org/images/8/87/Vogel_Amos_Film_as_a_Subversive_Art.pdf}, author = {Amos Vogel} } @book {expcin16084, title = {Historia del cine experimental}, year = {1974}, pages = {342 pp}, publisher = {F. Torres}, organization = {F. Torres}, address = {Valencia}, abstract = {

Spanish translation of Jean Mitry{\textquoteright}s "Le Cinema Experimental: Histoire et Perspectives"

}, keywords = {Experimental film history}, author = {Jean Mitry} } @book {expcin16082, title = {Le Cinema Experimental: Histoire et Perspectives}, series = {Cinema 2000}, year = {1974}, pages = {309 pp}, publisher = {Seghers}, organization = {Seghers}, address = {Paris}, keywords = {Experimental film history}, author = {Jean Mitry} } @book {expcin16094, title = {Visionary Film: The American Avant-Garde}, year = {1974}, pages = {479 pp}, publisher = {Oxford University Press}, organization = {Oxford University Press}, address = {New York}, keywords = {American Cinema, Christopher MacLaine, Gregory Markopoulos, Jordan Belson, Kenneth Anger, Maya Deren, Michael Snow, Robert Breer, Sidney Peterson, Stan Brakhage}, isbn = {0-19-501761-7}, url = {https://archive.org/details/Visionary_Film_The_American_AvantGarde}, author = {P.Adams Sitney} } @book {expcin16042, title = {メカスの映画日記 : ニュー・アメリカン・シネマの起源 1959-1971}, year = {1974}, pages = {398 pp}, publisher = {Firumu Ātosha}, organization = {Firumu Ātosha}, address = {Tokyo}, abstract = {

Japanese translation of Jonas Mekas{\textquoteright} Movie Journal

} } @book {expcin16092, title = {Cine Underground: Historia cr{\'\i}tica}, series = {Colecci{\'o}n Ensayos}, year = {1973}, pages = {256 pp}, publisher = {Planeta}, organization = {Planeta}, address = {Barcelona}, abstract = {

Spanish translation of Underground Film: A Critical History

}, keywords = {Experimental film history}, author = {Parker Tyler} } @book {expcin16040, title = {Movie Journal: The Rise of the New American Cinema, 1959-1971}, year = {1972}, pages = {434 pp}, publisher = {Macmillan}, organization = {Macmillan}, address = {New York}, abstract = {

A collection of the columns written for the Village Voice beginning in 1958 under the title "Movie Journal"

}, keywords = {American Cinema, Village Voice}, author = {Jonas Mekas} } @book {expcin16039, title = {Experimental Cinema: A Fifty Year Evolution}, year = {1971}, pages = {168 pp}, publisher = {Studio Vista}, organization = {Studio Vista}, address = {London}, keywords = {Experimental film history}, issn = {9780289797877}, author = {David Curtis} } @book {expcin16038, title = {Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino}, year = {1971}, pages = {239 pp}, publisher = {Ullstein}, organization = {Ullstein}, address = {Frankfurt/Berlin/Vienna}, keywords = {Andy Warhol, Bruce Baillie, Bruce Conner, Ed Emshwiller, Expanded cinema, Experimental film history, George Kuchar, Gergory Markopoulos, Harry Smith, Jack Smith, James Whitney, John Whitney Jr., Jonas Mekas, Jordan Belson, Ken Jacobs, Kenneth Anger, Knokke Experimental Film Festival, Mike Kuchar, Robert Breer, Robert Nelson, Ron Rice, Stan Brakhage, Stan VanDerBeek}, issn = {9783548028170}, author = {Birgit Hein} } @book {expcin16022, title = {Expanded Cinema}, year = {1970}, pages = {432 pp}, publisher = {E.P. Dutton \& Co.}, organization = {E.P. Dutton \& Co.}, address = {New York}, keywords = {Buckminster Fuller, Carolee Schneemann, Expanded cinema, James Seawright, John Cage, John McHale, John Schofill, John Stehura, John Whitney, John Whitney Jr., Jordan Belson, Michael Snow, Nam June Paik, Otto Piene, Pat O{\textquoteright}Neill, Paul Morrissey, Philip Makanna, Ronald Nameth, Scott Bartlett, Stan Brakhage, Stan VanDerBeek, videotronic, Will Hindle}, issn = {9780525472636}, url = {https://monoskop.org/log/?p=218}, author = {Gene Youngblood} } @book {expcin16037, title = {Underground Film: A Critical History}, year = {1970}, pages = {249 pp}, publisher = {Grove Press}, organization = {Grove Press}, address = {New York}, abstract = {

Parker Tyler (1904-1974), one of the few great American film critics, was intimate with and enormously respected by many of the underground and experimental filmmakers of his time. In this book, Tyler evaluated the Underground in general and the seminal films in particular, covering the history and scope of the genre with insight and verve. Like Tyler{\textquoteright}s Screening of the Sexes: Homosexuality in the Movies is one of the masterpieces of cinema literature.

}, keywords = {Experimental film history}, author = {Parker Tyler} } @book {expcin16021, title = {Cinema now 1: Perspectives on American underground film: Stan Brakhage, John Cage, Jonas Mekas, Stan Vanderbeek}, year = {1968}, pages = {28 pp}, publisher = {University of Cincinnati}, organization = {University of Cincinnati}, address = {Cincinnati}, abstract = {

Transcript of a discussion among filmmakers and members of the Film as Art and Communication class at the University of Cincinnati, which took place in April 1967.

}, keywords = {American Cinema, John Cage, Jonas Mekas, Stan Brakhage, Stan VanDerBeek}, author = {Stan Brakhage and Jonas Mekas and John Cage and Stan VanDerBeek}, editor = {Hector Currie and Michael Porte} } @book {expcin16012, title = {An Introduction to the American Underground Film}, year = {1967}, pages = {326 pp}, publisher = {E.P. Dutton \& Co.}, organization = {E.P. Dutton \& Co.}, address = {New York}, keywords = {Andy Warhol, Branaman, Bruce Baillie, Bruce Conner, Carmen D{\textquoteright}Avino, Charles Eames, Dziga Vertov, Ed Emshwiller, Emlen Etting, Experimental film history, George Kuchar, George Landow, Gregory Markopoulos, Hans Richter, Harry Smith, Jack Smith, James Sibley Watson, Jonas Mekas, Jordan Belson, Ken Jacobs, Kenneth Anger, Lawrence Jordan, Len Lye, Man Ray, Marie Menken, Maya Deren, Melville Webber, Mike Kuchar, Peter Emanuel Goldman, Ralph Steiner, Ren{\'e} Clair, Robert, Robert Breer, Robert Nelson, Ron Rice, Sidney Peterson, Stan Brakhage, Stan VanDerBeek, Tony Conrad}, url = {http://archive.org/details/introductiontoam00rena}, author = {Sheldon Renan} } @article {expcin16010, title = {Film Culture 30: Metaphors on Vision}, year = {1963}, abstract = {

{\textquotedblleft}Metaphors on Vision is a collection of writings on the film and, in particular, on the film as Stan Brakhage sees and makes it. Yet more significantly it is a testament of what makes mythopoeic art. Mythopoeia is the often attempted and seldom achieved result of making a myth new or making a new myth.{\textquotedblright} (from the Introduction)

Edited with an Introduction by P. Adams Sitney
Book design by George Maciunas

}, keywords = {Jane Brakhage, Stan Brakhage}, url = {https://monoskop.org/log/?p=7736}, author = {Stan Brakhage and Jane Brakhage and P.Adams Sitney} } @book {expcin16009, title = {Experiment in the Film}, year = {1949}, pages = {312 pp}, publisher = {Grey Walls Press}, organization = {Grey Walls Press}, address = {London}, keywords = {Abel Gance, Alexandre Alexeieff, American Cinema, Austrian Cinema, Basil Wright, British Cinema, Carl Dreyer, Cavalcanti, Chester Kessler, David Lean, Ernoe Metzner, Fernand L{\'e}ger, French Cinema, Germaine Dulac, German Cinema, Grahame Tharp, Hans Richter, Jacques Pr{\'e}vert, James Broughton, Jean Epstein, Jean Painlev{\'e}, Jean Renoir, Jean Vigo, Len Lye, Lewis Jacobs, Louis Delluc, Louis Feuillade, Lu{\'\i}s Bu{\~n}uel, Marcel L{\textquoteright}herbier, Maya Deren, Melville Webber, Oskar Fischinger, Paul Rotha, Percy Smith, Pierre Pr{\'e}vert, Ralph Steiner, Ren{\'e} Clair, Robert Florey, Russian Cinema, Sara Arledge, Scientific Cinema, Sidney Peterson, Slavko Vorkapich, Walther Ruttmann}, url = {https://archive.org/details/experimentinfilm00unse}, author = {Jacques B. Brunius and Lewis Jacobs and Grigori Roshal and Roman Karmen and Ernst Iros and Hans Richter and Edgar Anstey and John Maddison}, editor = {Roger Manvell} } @conference {expcin16008, title = {Art in Cinema: A Symposium on the Avantgarde Film Together with Program Notes and References for Series one of Art in Cinema}, booktitle = {Art in cinema}, year = {1947}, note = {

Facsimile reedition Arno Press, 1968

}, pages = {104 pp}, publisher = {Art in Cinema Society}, organization = {Art in Cinema Society}, address = {San Francisco, San Francisco Museum of Art}, keywords = {San Francisco Museum of Art}, author = {Frank Stauffacher} } @book {expcin16006, title = {An Anagram of Ideas on Art, Form and Film}, series = {Outcast}, volume = {9}, year = {1946}, pages = {52 pp}, publisher = {Alicat Book Shop Press}, organization = {Alicat Book Shop Press}, address = {New York}, abstract = {

{\textquotedblleft}Maya Deren{\textquoteright}s four 16 mm. films have already won considerable acclaim. Convinced that there was poetry in the camera, she defied all commercial production conventions and started to make films with only ordinary amateur equipment. Her first, MESHES OF THE AFTERNOON (1943), was made with her husband Alexander Hammid, whose films{\textendash}FORGOTTEN VILLAGE, CRISIS, HYMN OF THE NATIONS (Toscannini) and others{\textendash}reveal also that devotion to the poetry of vision which formed the common ground of their collaboration. When other work claimed his time, Maya Deren went on by herself{\textendash}conceiving, producing, directing, acting, (being unable to afford actors) photographing (when she was not in the scene) and cutting. Through all the trials of such shoe-string production, which included carrying equipment for miles to the location, she had only assistance of another woman, Hella Heyman, as camerawoman. Yet three more films were made: AT LAND, A STUDY IN CHOREOGRAPHY FOR CAMERA (with Talley Beatty) and RITUAL IN TRANSFIGURED TIME, thus proving that fine films could be made {\textquotedblleft}for the price of the lipstick in a single Hollywood production.{\textquotedblright} Her heroic persistence has just been rewarded by a John Simon Guggenheim Memorial Foundation Fellowship. Moreover, the reputation of the films has spread so that performance at the Provincetown Playhouse were completely sold out and they have also been shown in colleges and museums throughout the country.

In this pamphlet Maya Deren{\textquoteright}s approach to film reflects not the limited scope of a professional craftsman, but a broad cultural background{\textendash}a profound interest not only in esthetics generally and in psychological insight, but in physics and the sciences as well. Russian-born, daughter of a psychiatrist, Maya Deren attended Syracuse University, when she first became interested in film, and received her B.A. from New York University and her M.A. from Smith College, both degrees in literature.{\textquotedblright} (Publisher{\textquoteright}s Note)

}, keywords = {Maya Deren}, url = {https://monoskop.org/log/?p=2665}, author = {Maya Deren} } @book {expcin16104, title = {Avangardni film 1895-1939}, pages = {159 \& 63 pp}, publisher = {Radionica SIC}, organization = {Radionica SIC}, address = {Belgrade}, abstract = {

Collection of writings on avant-garde film by authors like Apollinaire, Ruttman, Ray, Picabia, Sitney, Michelson, Vigo, etc.

}, editor = {Branko Vu{\v c}i{\v c}evi{\'c}} }