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Debate over cinema’s credibility as an art form is as old as the medium itself, and largely defined in terms of formal, psychological, ideological, social, or auteurist theories. To explore how artists are also using the medium to investigate a wider rang
Filmmaker, painter, and multimedia artist, Joyce Wieland (1930–1998) created startlingly original art, influenced by feminism, nationalism, and environmentalism. In 1971 the National Gallery of Canada celebrated Wieland with its first solo show dedicated to a living Canadian woman artist.
Johanne Sloan is Professor of Art History at Concordia University.
Made in the period around May 1968 by a dozen rebels whose undisputed leader was Philippe Garrel, the Zanzibar Films fall within a “wild innocence” that is striking as much for its violence as well as for its lucidity. The author reveals the truth on one
LUX and Re:Voir are proud to announce the release of the DVD Shoot Shoot Shoot, the first time that works from this defining period in British artists’ filmmaking have been made available on DVD or video. The 1960s and 1970s were groundbreaking decades in
Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of "Green"? How many rainbows can light create for the untutored eye? How aware of variations in heat waves can that eye be? Imagine a world alive with incomprehensible objects and shimmering with an endless variety of movement and innumerable gradations of color.
Gene Youngblood’s lecture, Secession from the Broadcast, is cartographic by design, a lantern & compass for those determined to extirpate their operations from under the clutches of the mass media hydra. Breathing as though alive, through this manifesto Youngblood’s words serve as call to action, a call for a rebellion of intensely illuminated and unexampled proportions. Fused by Youngblood’s innate desires, this work showcases a praxis and research that spans most of a lifetime.
Working outside the mainstream, Stan Brakhage made nearly four hundred films. Challenging all taboos in his exploration of: birth, sex, death, and the search for God, Brakhage turned his camera on explicit lovemaking, childbirth, even autopsy. Many of his
For Seven Easy Pieces Marina Abramovic reenacted five seminal performance works by her peers, dating from the 1960’s and 70’s, and two of her own, interpreting them as one would a musical score. The project confronted the fact that little documentation ex
What does it mean for film and video to be experimental? In this collection of essays framed by the concept “ex-”—meaning from, outside, and no longer—Akira Mizuta Lippit explores the aesthetic, technical, and theoretical reverberations of avant-garde film and video. Ex-Cinema is a sustained reflection on the ways in which experimental media artists move outside the conventions of mainstream cinema and initiate a dialogue on the meaning of cinema itself.
Over the past half-century, two tendencies have dominated independent, artisanal filmmaking. One of these is the fascination with the material artifacts of cinema´s history: it is often called »found-footage filmmaking« and sometimes »recycled cinema«. Filmmakers working in this vein are often archeologists of cinema, aesthetically and/or ideologically engaging with the work of earlier generations of filmmakers of all kinds.
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