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Mirza/Butler’s The Exception and the Rule, filmed in Pakistan and India, is a complex bricolage of formal experiments, overlapping narratives, fictional collaborators and performative quotations that explore Bertolt Brecht’s concept of Lehrstücke so as to
Nina Danino is one of the foremost British experimental filmmakers of her generation. Her films explore the relationship of image to sound, and of theory to practice. She draws upon her own personal history as well as literary and artistic works, which are filtered through a poetic interpretation of feminist theory that foregrounds women’s personal experience and expression. These inspirations are restructured through image-making, editing and voice performances to create original works of striking intensity and emotional force.
Scenes from the life of Andy Warhol, as seen by four pioneer avant-garde film-makers and close friends of the Pop-artist.
An in-depth study of the expanding role of the moving image in British art over the past thirty years.
The unique contribution of Austrian avant-garde film to world cinema is universally acknowledged. Yet there is no single English book dedicated to illuminating its historical and aesthetic evolution. We intend to address this lack with a comprehensive publication. The core of this book will consist of a richly illustrated text that provides an exhaustive description of avant-garde film production in Austria, both past and present.
Filmmaker, painter, anthropologist, musicologist and occultist--Harry Smith (1923-1991) was an incomparable polymath and seminal figure in the realms of beat culture and avant-garde art. Smith's kaleidoscopic experimental films have influenced generations of artists and cinephiles, while his landmark three-volume compilation, the Anthology of American Folk Music (1952), laid the foundation for the folk music revival of the 1950s and 1960s.
The American artist Kevin Jerome Everson has created a remarkable body of moving image work that co-exists within film and art exhibition contexts. With a sense of place and history, his films, shot primarily on 16mm, combine scripted and documentary moments with touches of formalism. The focus is on craft and duration, and the gestures and tasks caused by certain physical and socio-economic conditions in the lives, labour and leisure of working-class Black Americans and people of African descent.
Through the course of the 1980s, Canadian artist-filmmaker Richard Kerr had gradually moved towards an ‘accelerated cinema,’ an imagistic cinema of movement, montage and aggressive sound design. Kerr’s work in this ‘accelerated cinema’ became increasingly total at the same time that he became invested in the model of the ‘teacher-practitioner,’ collaborating directly with his students and working with simple, accessible tools.
This book includes a major essay by Branden Joseph, an interview with the artist by Jonathan Walley, and the first photo-documentation ever made of his pieces as well as diagrams of related works. Additional biographical and bibliographic materials are in
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