Light Cone Editions presents an anthology of texts by Jean-Michel Bouhours on Paolo Gioli, in a bilingual edition (French and English), introduced by a preface by Georges Didi-Huberman.
COUSIN Collective and Light Industry present the first critical anthology devoted to Indigenous experimental cinema. Temporal Territories brings together newly commissioned pieces alongside reprints of key writings on the subject, featuring theoretical interventions and artist portfolios, intergenerational dialogues and manifestos. With topics ranging from science fiction to found-footage filmmaking to the strange case of the DeMille Indians, the book surveys a varied and vital body of work, and suggests new forms still to come.
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.
Hollywood en el cine de metraje encontrado nos sumerge en el fascinante mundo de relaciones que existen entre el cine realizado con archivos y el cine de Hollywood.
Exploramos la apropiación y reescritura de la imagen cinematográfica en el cine de metraje encontrado, una forma de hacer películas conceptualmente enraizada con las vanguardias que engloba etiquetas tales como cine reciclado, cine de segunda mano o cine de apropiación.
Operating between film theory, media philosophy, archival practice, and audiovisual research, Jiri Anger focuses on the relationship between figuration and materiality in early films, experimental found footage cinema, and video essays.
Double Vision is a beautifully written work of biography and criticism that tells the inside story of Robert Beavers (b. 1949), a major American avant-garde filmmaker. Until now, Beavers's dramatic life of itinerancy and resistance to commercial circulation has obscured his recognition as one of today's most significant living filmmakers.
Norman McLaren said that “animation is not the art of drawings that move, but the art of movements that are drawn. "What happens between each frame is much more important than what is in each frame." What would we see, then, if we could stop the time between frame and frame? How are these invisible interstices manipulated, this other dimension parallel to the images?
Karel Doing is an experimental filmmaker and researcher who has worked across the globe with fellow artists and filmmakers, creating a body of work that is difficult to pinpoint with a simple catchphrase. In Ruins and Resilience he weaves autobiographical elements and critical reviews together with his wide ranging interdisciplinary approach, reflecting on his own practice by positioning key works within the context of a vibrant experimental film scene in Europe, North and South America, and Asia.
Experiencias: vivir, inventar, escribir. Para Hélio Oiticica no eran tres palabras sino manifestaciones de un mismo gesto, de una realidad única. Y así fue desde el principio, cuando comenzó con el Grupo Frente y participó en la Exposición Nacional de Arte Concreta de 1957, hasta el final de su vida, cuando no dejaba de llenar sus cuadernos con proyectos ni de transformar el espacio urbano con sus obras y su cuerpo en lo que llamó “delirios ambulatorios”.
Paris, 1976: the Centre Pompidou had not yet opened its doors, yet it was already asserting its ambition to include in its programming artistic practices that had until then remained invisible in museums. It is at this moment of prefiguration that the exhibition A History of Cinema is being organised. What kind of history is this? In the course of the sessions, an alternative narrative to the dominant cinematographic canons took shape, on the fringes of the industry and auteur cinema.
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