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Malcolm Le Grice, a pioneer of \"structural film\" in the 1970s and whose first video and computer works were exhibited in the late 1960s, provides a collection of his most notable essays.
"Alongside the commercial cinema of narrative and spectacle there has always been another practice--call it avant-garde, experimental, or artists' film. In this provocative book, Nicky Hamlyn, an acclaimed filmmaker in the alternative tradition, investigates the film art phenomenon. Taking cues from modern trends in other artforms, notably painting and sculpture, this type of filmmaking emphasizes the nature of its apparatus and medium in order to bring about a critical, inquisitive state of mind in the viewer.
Parker Tyler (1904-1974), one of the few great American film critics, was intimate with and enormously respected by many of the underground and experimental filmmakers of his time. In this book, Tyler evaluated the Underground in general and the seminal fParker Tyler (1904-1974), one of the few great American film critics, was intimate with and enormously respected by many of the underground and experimental filmmakers of his time.
"In his 1971 short film, (nostalgia) , American artist and writer Hollis Frampton oveturned the conventional narrative roles of words and images. In his account of an artists's transformation from photographer to filmmaker, Frampton burns photographs he had taken and selected from his past along with one found photograph. A calm voice tells a story about an image, but the story is about the following image, not the one shown.
Sitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage, Charles Olson and Gertrude Stein. The films discussSitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage, Charles Olson and Gertrude Stein. The films discussed span the sixty years since the Second World War.
Sabine Folie and Susanne Titz (Ed.), edited for the Generali Foundation, Vienna and Museum Abteiberg, Mönchengladbach 2012.
With introductions by Sabine Folie and Susanne Titz, essays by Thom Andersen, Rainer Bellenbaum / Sabeth Buchmann, Yve-Alain Bois and short texts by Morgan Fisher
A relational [video] grammar: extrapolation is an editing experiment that uses drawing and the addition/reconfiguration/obliteration of text to examine speech generated during the making of direct address to camera, within a context of artists’ film and video. a relational [video] grammar: extrapolation tests the conceptual relationships between linguistic and technological editing processes.
Indiscretions follows the path of U.S. avant-garde film and video from the underground of the 1960s to the academy of the 1980s. Patricia Mellencamp traces and charts the intersections of Lacanian psychoanalysis and the desiring male subject, Roland Barthes and texts of pleasure, Michel Foucault and the disciplinary society, the grotesque body and Mikhail Bakhtin, the rhizomatic alogic of Gilles Deleuze and Felix Guattari, and the female subject of feminist film theory.
The publication “...and the figtrees in the Alameda gardens” brings together three of Nina Danino’s early 16mm films—First Memory (1980), Close to Home (1985), Stabat Mater (1990)— which are related to Gibraltar as a real place, and as an imagined geography and history. The publication includes the artist’s recent work Meteorologies (2013).
The book is published on the occasion of Nina Danino’s solo exhibition “...and the figtrees in the Alameda gardens” at the Garrison Library, a magnificent library in Gibraltar—established in 1793. Since then, the venue, with its fine collection of rare books and documents, has been a centre of international cultural life in Gibraltar.
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