A rollicking picaresque memoir on moviemaking from the titans of underground trash cinema.
In the underbelly of underground cinema, the Kuchar brothers have long been the prophets of experimental filmmaking. Reflections from a Cinematic Cesspool is a raucous journey through the minds of these two transcendent artists.
Lisl Ponger is a visual artist, working at the interface of art, art history and ethnology. Her works dismantle cultural stereotypes and challenge the power of images about others. In the decades of her work with photography, film and installation, the artist has consistently developed a characteristic "Pongerish perspective" on the world. Her pictorial constructions are invariably also deconstructions of dominant scopic regimes that operate in the interstitial spaces between art, society and politics.
This critical anthology of newly commissioned essays by established and emerging scholars examines the work and legacy of Annette Michelson (1922–2018), pioneering critic and theorist of avant-garde cinema. Michelson’s insights transformed our understanding of cinema through her provocative and profoundly original analyses. As a contributor and editor for Artforum in the 1960s and early 1970s, then founding editor of the journal October, Michelson defined the terms of moving image art and its relation to painting, sculpture, and performance.
BOOM! is the secret history of the Exploding Cinema told by its key activists. And in particular it is the history of the Exploding Collective, a unique experiment in total democracy, open access, collective ownership and voluntary action. For the last 3 decades, this unfunded gang of radical cinema activists have been staging regular monthly open access nights of short D.I.Y. underground film in pubs, clubs and squats across London; turning shabby interiors into temporary convivial utopias that seethe with multiple moving projections.
“a blueprint for critical resistance and aesthetic defiance in the face of digital capitalism and a rising new age” — Laila Shereen Sakr/ VJ Um Amel
Fear of the ‘machine artist’ reflects a deep cultural anxiety about industrialization, shaped by unresolved conflicts over automation and its potential to supplant human artists. Automated machinery represents both a technical development and a social paradigm that redefines labor, authorship, and creativity itself.
An analysis of artistic processes and filmic forms resulting from hybridization with dance. An exploration of a different history of experimental cine-choreographic forms, in which movement inspired by or aspiring to dance takes shape in the material of the film itself, rather than in the physical bodies displayed on screen.
Colectivo Los Ingrávidos: An Anthology explores the radical practice of one of today's most prolific and politically charged film collectives. Emerging in 2012, Colectivo Los Ingrávidos challenges cinematic conventions through a decolonial lens, making films that dissolve the boundaries between ritual and resistance, myth and history, the personal and the collective.
Arthur Lipsett’s first film was nominated for an Academy Award in 1962, marking the arrival of an influential new voice. The film’s dark humour and dancing rhythms had captured the spirit of his times. When Lipsett died by suicide in 1986, the humour and joy of his work was eclipsed by that sardonic darkness. It all came to feel like an omen.
A collection of sourcebooks compiled by experimental filmmaker Peggy Ahwesh during the production of some of her most notable films: Martina’s Playhouse (1989), The Deadman (1990), She Puppet (2001), Ape of Nature (2009), and OR119 (2022). Each of these films are significant milestones in Ahwesh’s career and have had remarkable influence on the landscape of experimental filmmaking.
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