@book {expcin16023, title = {Cine expandido}, year = {2012}, pages = {456 pp}, publisher = {EDUNTREF}, organization = {EDUNTREF}, address = {Buenos Aires}, abstract = {

Translation in Spanish of Gene Youngblood{\textquoteright}s Expanded cinema.

}, keywords = {Buckminster Fuller, Carolee Schneemann, Expanded cinema, James Seawright, John Cage, John McHale, John Schofill, John Stehura, John Whitney, John Whitney Jr., Jordan Belson, Michael Snow, Nam June Paik, Otto Piene, Pat O{\textquoteright}Neill, Paul Morrissey, Philip Makanna, Ronald Nameth, Scott Bartlett, Stan Brakhage, Stan VanDerBeek, videotronic, Will Hindle}, isbn = {9789871889044}, author = {Gene Youngblood} } @book {expcin16041, title = {Cin{\'e}-Journal: Un nouveau cin{\'e}ma am{\'e}ricain (1959-1971)}, series = {Classiques de l{\textquoteright}Avant-Garde}, number = {3}, year = {1992}, pages = {400 pp}, publisher = {Paris exp{\'e}rimental}, organization = {Paris exp{\'e}rimental}, address = {Paris}, abstract = {

French translation of Jonas Mekas{\textquoteright} Movie Journal

}, keywords = {American Cinema}, issn = {2-9500635-3-5}, author = {Jonas Mekas}, editor = {Dominique Noguez} } @book {expcin16110, title = {Cinema marginal, 1968-1973: A representação em seu limite}, year = {1987}, pages = {156 pp}, publisher = {Editora Brasiliense}, organization = {Editora Brasiliense}, address = {Sao Paulo}, abstract = {

O Bandido da Luz Vermelha, de Rog{\'e}rio Sganzerla, Matou a Fam{\'\i}lia e Foi ao Cinema, de J{\'u}lio Bressane, A Margem, de Ozualdo Candeias. Produzidos sob o signo da rebeldia durante o auge da Ditadura Militar, da censura e da tortura, esses filmes fizeram parte de um movimento {\'u}nico dentro do panorama cinematogr{\'a}fico brasileiro: o Cinema Marginal. Reerguendo ideais deixados pelo Cinema Novo, seus diretores rejeitaram sistematicamente aderir ao cinema comercial, levando at{\'e} as {\'u}ltimas consequ{\^e}ncias os limites que existiam entre a exibi{\c c}{\~a}o de seus filmes e o que seria o objeto natural de sua a{\c c}{\~a}o, o povo. Neste livro, Fern{\~a}o Ramos tra{\c c}a os contornos da produ{\c c}{\~a}o marginal em S{\~a}o Paulo, Rio e Salvador, entre 1968 e 1973, e apresenta a est{\'e}tica do lixo, al{\'e}m de reunir uma filmografia completa de todos os filmes do Cinema Marginal.

}, keywords = {Brazilian Cinema, Cinema Marginal}, author = {Fernão Ramos} } @book {expcin16106, title = {Cinema de Inven{\c c}{\~a}o}, series = {CINEMAX}, year = {1986}, pages = {304 pp}, publisher = {Editora Max Limonad}, organization = {Editora Max Limonad}, address = {Sao Paulo}, url = {http://cinema-de-invencao.blogspot.com/}, author = {Jairo Ferreira} } @book {expcin16096, title = {Circles of Confusion: Film/Photography/Video Texts 1968-1981}, year = {1983}, pages = {200 pp}, publisher = {Visual Studies Workshop Press}, organization = {Visual Studies Workshop Press}, abstract = {

Hollis Frampton is most well known as an independent filmmaker, but has been lecturing and writing about photography, film and video for a long time and in many places and publications. Circles of Confusion assembles eleven articles from exhibition catalogs and from October and Artforum. What Frampton does as a critic is much like what he does as a filmmaker, which is to strip the creative process down to its basic elements, then arrange and display the components..

Framptont{\textquoteright}s role in this is critic-as-conjurer . He prestidigitates ideas and illusions from everywhere{\textendash}history, psychology, philosophy, literature, even archaeology, whatever might apply. However much he may circle, though, he always comes back to basic ontological questions. What is photography? Film? Video? What are the properties that make them unique? What has film to do with narrative? Photography with space and time? Beyond a king these questions Frampton also conjectures about the possible ways of asking them and the likelihood of getting an answer. He also plays the role of critic-as-authoritative-voice, but by exposing the jagged mechanisms of thought makes the reader much more than a participant in the process than is usually the case.

}, keywords = {Hollis Frampton}, isbn = {9780898220209}, url = {https://monoskop.org/log/?p=766}, author = {Hollis Frampton} } @book {expcin16087, title = {{\v C}esk{\'a} avantgarda a film}, year = {1976}, pages = {207 pp}, publisher = {{\v C}s. filmov{\'y} {\'u}stav}, organization = {{\v C}s. filmov{\'y} {\'u}stav}, address = {Prague}, keywords = {Czech Cinema}, author = {Viktoria Hradsk{\'a}} } @book {expcin16092, title = {Cine Underground: Historia cr{\'\i}tica}, series = {Colecci{\'o}n Ensayos}, year = {1973}, pages = {256 pp}, publisher = {Planeta}, organization = {Planeta}, address = {Barcelona}, abstract = {

Spanish translation of Underground Film: A Critical History

}, keywords = {Experimental film history}, author = {Parker Tyler} } @book {expcin16021, title = {Cinema now 1: Perspectives on American underground film: Stan Brakhage, John Cage, Jonas Mekas, Stan Vanderbeek}, year = {1968}, pages = {28 pp}, publisher = {University of Cincinnati}, organization = {University of Cincinnati}, address = {Cincinnati}, abstract = {

Transcript of a discussion among filmmakers and members of the Film as Art and Communication class at the University of Cincinnati, which took place in April 1967.

}, keywords = {American Cinema, John Cage, Jonas Mekas, Stan Brakhage, Stan VanDerBeek}, author = {Stan Brakhage and Jonas Mekas and John Cage and Stan VanDerBeek}, editor = {Hector Currie and Michael Porte} }