Become a master in the influential, diverse, and highly innovative field of experimental filmmaking. Harness the little-known techniques and subtle aesthetics required for this imagination-driven art form.
Avant-garde meets Cinecittà: in 1964, artists Gianfranci Baruchello and Alberto Grifi edit found footage of Hollywood films from the fifties in Italian version. This original assemblage seeks to disclose the formatting process in the Cinema Industry and offer a new meaning to images.
The aims of this book are twofold: on the one hand, based on archival research, it seeks to identify the status of film and of the moving image in the field of contemporary art in French-speaking Switzerland and abroad; on the other hand, it aims at assessing the influence of exhibition contexts on a multiplicity of film practices (on their temporal aspects, the multiplication of surfaces of projection, the reception by a mobile spectator).
The first ten years of the groundbreaking London arts organisation ACME are explored through rarely seen archival film and new interviews.
‘Raban's bold new film continues his ongoing examination of London's stratified social geography by exploring a fertile, creative scene in which he played a significant part. Solely using archival visual materials, he revisits the first ten years of art organisation ACME, highlighting its work in housing artists in the East End and the extraordinary work that was produced. The powerful archival footage incorporates Stephen Cripps' pyrotechnic displays, an abrasive Anne Bean music performance and Stuart Brisley's politically charged action 'Ten Days'. Interviewees include: Cosey Fanni Tutti, Jock McFadyen and David Critchley. Raban reflects on the nature of 'evidence' while a very particular vision of creative activity emerges - one based on devoted experimentation, location specificity and process.’ (William Fowler, London Film Festival)
40 Super 8 films from one of avant guarde cinemas overlooked masters, Joseph Bernard. Shot in Detroit + Provincetown 1975 to 85, these films have had no prior release, finally existing as a 2K scanned Blu-Ray edition of 6 hours. A full color 24 page booklet with critical assessments, past show announcements and historic context included. Bernard, a student of Stan Brakhage, worked and taught film in Detroit before returning to painting in 1986. A Beneath Detroit Project and release of Geodesic Disques - geodesic.tv
Charting the development of the studio practice of New York based artist Anthony McCall (b.1946), this publication features facsimile reproductions of pages from McCall's extensive archive of notebooks, which are supported by production scores and installation photographs. It was formed out of a series of discussions that took place over the last decade between McCall and the artists Graham Ellard and Stephen Johnstone.
Flicker Alley and the Blackhawk Films® Collection, in collaboration with Filmmakers Showcase, are proud to present Masterworks of American Avant-garde Experimental Film 1920-1970 in a 4-disc Blu-ray/DVD Combo Edition. This breathtaking collection includes 30 films, restored to pristine high-definition, from some of the foremost experimental filmmakers of the 20th century.
Commencing in 1920 with Charles Sheeler and Paul Strand’s creative collaboration on Manhatta, successive generations of experimental filmmakers and artists have worked in collaboration or alone to create a cinema capable of expressing dynamic unspoken concepts in totally abstract visual terms.
Re:Voir Video is proud to announce the DVD release of the first film compilation by French structural film-artist Christian Lebrat. The films, made between 1976 and 1985, represent the seminal work of the filmmaker and photographer, himself an important figure in experimental French filmmaking.
Christian Lebrat, born in 1952 in Paris, is an internationally acclaimed artist with a career spanning over 30 years. He is a filmmaker, video artist, performance artist and photographer, as well as a publisher, curator and writer.
In this frank and provocative conversation, Thom Andersen and William E. Jones explore an expansive number of topics in relation to their respective film and art practices, among them: the advent of HD technology, experimental filmmakers and their strategies, Los Angeles, “militant nostalgia,” Jesus as revolutionary, the limitations of the art world, art criticism, gay culture, William Morris, and “the Reagans at church.”
Film and video create an illusory world, a reality elsewhere, and a material presence that both dramatizes and demystifies the magic trick of moving pictures. Beginning in the 1960s, artists have explored filmic and televisual phenomena in the controlled environments of galleries and museums, drawing on multiple antecedents in cinema, television, and the visual arts. This volume traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960s, 1970s, and 1980s.
|
Please notice that our website is not a shop. The items listed here are just for reference. Links will be provided when the publication is not generally available via standard retailers. |
