In activity in Recife between 2011 and 2015, the Bcubico was configured as an important field of exhibition and sharing of different contemporary art forms, also interested for the image in movement related to the experimental cinema, videoart and other expressions.

“This book is a echo manifest of the dynamics of space as a field of experience, but also a place of excellence of presentations through texts, testimonials, stories, and photos” as Barrus points out.

Fred Camper has written about the films of Stan Brakhage for over five decades. Collected here for the first time in a single volume, his writing forms a body of criticism commensurate with the importance of Brakhage's films to late 20th century American art.

This book focuses on the unique forms of expression in the diary film and the essay film, especially how authorship of filmmakers can be integrated in the voice-over as a narrative strategy in first-person cinema. The book is divided into two sections: the first section “essays” contains three chapters, and in these chapters I use films of Liu Na’Ou, Hollis Frampton, Jonas Mekas, and José Luis Guerín as cases for filmic textual analyses, to discuss the issues of authorial presence, the voiceover narration, and audiovisual structure.

Nathaniel Dorsky and Jerome Hiler met in 1964 at the premiere of Dorsky’s first film, Ingreen. This encounter marked the beginning of a shared life and a series of creative exchanges. Covering a span of over forty years, this book brings together interviews, writings, and documents related to the 16mm films made by the two filmmakers in New York, at the country house in New Jersey where they lived in the late 1960s, and in San Francisco, where they moved in 1971 and currently reside.