@article {expcin15984, title = {As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s}, year = {2010}, pages = {259 pp}, publisher = {Museum of Modern Art Warsaw}, address = {Warsaw}, abstract = {

In the late 1960s and {\textquoteright}70s, artists in Yugoslavia rejected the official language of expression licensed by the regime, abstract art, and replaced it with "anti-art". This book explores this crucial period in the Yugoslav art scene and situates it in the broader cultural context of Central and Eastern Europe. The book follows the show "As Soon As I Open My Eyes I See a Film. Experiment in the Art of Yugoslavia in the 1960s and 1970s", Museum of Modern Art in Warsaw, April 24-June 22 2008.

}, keywords = {Antifilm, Yugoslavian Cinema}, isbn = {9788392404439}, author = {Ana Janevski and Stevan Vukovi{\'c} and {\L}ukasz Ronduda and Goran Trbuljak and Hrvoje Turkovi{\'c} and Mihovil Pansini and Slobodan {\v S}ijan and {\v Z}elimir {\v Z}ilnik and Branko Vu{\v c}i{\v c}evi{\'c} and P.Adams Sitney} } @article {expcin15976, title = {Articulated Light: The Emergence of Abstract Film in America}, year = {1995}, pages = {16 pp}, publisher = {Harvard Film Archive \& Anthology Film Archives}, address = {Boston}, keywords = {abstract film, Anthology Film Archives, Harvard Film Archive}, url = {http://monoskop.org/log/?p=10155}, author = {Bruce Posner and Gerald O{\textquoteright}Grady} } @book {expcin16105, title = {Abstraction in Avant-garde Films}, series = {Studies in Cinema}, volume = {32}, year = {1985}, pages = {165 pp}, publisher = {UMI Research Press}, organization = {UMI Research Press}, address = {Ann Arbor}, abstract = {

Revision of the author{\textquoteright}s thesis (doctoral)--University of Wisconsin-Madison, 1978.

}, keywords = {abstract film, Barry Gerson, Ernie Gehr, Hollis Frampton, Larry Gottheim, Michael Snow, Paul Sharits}, isbn = {9780835716291}, url = {https://monoskop.org/images/7/78/Turim_Maureen_Cheryn_Abstraction_in_Avant_Garde_Films.pdf}, author = {Maureen Cheryn Turim} } @article {expcin16103, title = {Andere Avant Garde: Brucknerhaus Linz, Festival 16.9.-20.9.1983, Ausstellung 16.9.-7.10.1983}, year = {1983}, pages = {181 pp}, publisher = {Druck- und Verlagsanstalt Gutenberg}, address = {Linz}, url = {http://kok.memoryoftheworld.org/$\#$text=Avangardni+film\&property=title\&librarian=Kenneth+Jungius}, author = {Claudia Preschl and Andrea Stadlmayr and Sabrina Unger} } @book {expcin15991, title = {The Avant-garde Film: A Reader of Theory and Criticism}, series = { Anthology film archives}, number = {3}, year = {1978}, pages = {295 pp}, publisher = {New York University Press}, organization = {New York University Press}, address = {New York}, abstract = {

This anthology is both a history of the avant-garde film genre and a compendium of theories of cinema articulated by major filmmakers. The 33 selections include several previously unpublished theoretical and critical articles and many articles that were especially translated into English for this collection. Other selections were drawn from interviews and from lectures contained in the Anthology Film Archives.

}, keywords = {Andy Warhol, Anthony McCall, Antonin Artaud, Ernie Gehr, Germaine Dulac, Hans Richter, Harry Smith, Hollis Frampton, James Broughton, James Whitney, Jean Epstein, John Whitney, Jonas Mekas, Joseph Cornell, Maya Deren, Michael Snow, Paul Sharits, Peter Kubelka, Sergei Eisenstein, Sidney Peterson, Stan Brakhage, Tony Conrad}, isbn = {9780814777930}, author = {P.Adams Sitney and Sergei Eisenstein and Hans Richter and Jean Epstein and Germaine Dulac and Antonin Artaud and Joseph Cornell and Maya Deren and Sidney Peterson and James Broughton and John Whitney and James Whitney and Harry Smith and Carel Rowe and Stan Brakhage and Peter Kubelka and Stephen Koch and Annette Michelson and Michael Snow and Jonas Mekas and Ernie Gehr and Anthony McCall and Paul Sharits and Tony Conrad and Hollis Frampton} } @book {expcin16088, title = {Abstract Film and Beyond}, year = {1977}, pages = {160 pp}, publisher = {MIT Press}, organization = {MIT Press}, address = {Cambridge, Mass.}, keywords = {abstract film}, isbn = {9780262120777}, author = {Malcolm Le Grice} } @conference {expcin16008, title = {Art in Cinema: A Symposium on the Avantgarde Film Together with Program Notes and References for Series one of Art in Cinema}, booktitle = {Art in cinema}, year = {1947}, note = {

Facsimile reedition Arno Press, 1968

}, pages = {104 pp}, publisher = {Art in Cinema Society}, organization = {Art in Cinema Society}, address = {San Francisco, San Francisco Museum of Art}, keywords = {San Francisco Museum of Art}, author = {Frank Stauffacher} } @book {expcin16006, title = {An Anagram of Ideas on Art, Form and Film}, series = {Outcast}, volume = {9}, year = {1946}, pages = {52 pp}, publisher = {Alicat Book Shop Press}, organization = {Alicat Book Shop Press}, address = {New York}, abstract = {

{\textquotedblleft}Maya Deren{\textquoteright}s four 16 mm. films have already won considerable acclaim. Convinced that there was poetry in the camera, she defied all commercial production conventions and started to make films with only ordinary amateur equipment. Her first, MESHES OF THE AFTERNOON (1943), was made with her husband Alexander Hammid, whose films{\textendash}FORGOTTEN VILLAGE, CRISIS, HYMN OF THE NATIONS (Toscannini) and others{\textendash}reveal also that devotion to the poetry of vision which formed the common ground of their collaboration. When other work claimed his time, Maya Deren went on by herself{\textendash}conceiving, producing, directing, acting, (being unable to afford actors) photographing (when she was not in the scene) and cutting. Through all the trials of such shoe-string production, which included carrying equipment for miles to the location, she had only assistance of another woman, Hella Heyman, as camerawoman. Yet three more films were made: AT LAND, A STUDY IN CHOREOGRAPHY FOR CAMERA (with Talley Beatty) and RITUAL IN TRANSFIGURED TIME, thus proving that fine films could be made {\textquotedblleft}for the price of the lipstick in a single Hollywood production.{\textquotedblright} Her heroic persistence has just been rewarded by a John Simon Guggenheim Memorial Foundation Fellowship. Moreover, the reputation of the films has spread so that performance at the Provincetown Playhouse were completely sold out and they have also been shown in colleges and museums throughout the country.

In this pamphlet Maya Deren{\textquoteright}s approach to film reflects not the limited scope of a professional craftsman, but a broad cultural background{\textendash}a profound interest not only in esthetics generally and in psychological insight, but in physics and the sciences as well. Russian-born, daughter of a psychiatrist, Maya Deren attended Syracuse University, when she first became interested in film, and received her B.A. from New York University and her M.A. from Smith College, both degrees in literature.{\textquotedblright} (Publisher{\textquoteright}s Note)

}, keywords = {Maya Deren}, url = {https://monoskop.org/log/?p=2665}, author = {Maya Deren} } @book {expcin16104, title = {Avangardni film 1895-1939}, pages = {159 \& 63 pp}, publisher = {Radionica SIC}, organization = {Radionica SIC}, address = {Belgrade}, abstract = {

Collection of writings on avant-garde film by authors like Apollinaire, Ruttman, Ray, Picabia, Sitney, Michelson, Vigo, etc.

}, editor = {Branko Vu{\v c}i{\v c}evi{\'c}} }