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Jonas Mekas has worked together with Andy Warhol, George Maciunas, John Lennon, and many others. In New York he was an influential figure in the New American Cinema, although he came to film-making relatively late. In 1944 Mekas and his younger brother Adolfas had to flee from the Nazis for copying leaflets. They were interned for eight months in a labour camp in Elmshorn.
Editions Light Cone is pleased to announce the publication of its first ebook: Jean-Michel Bouhours on Paolo Gioli. Benefitting from the new power of ebooks to integrate video with text, the first title in this new series from Editions Light Cone has been conceived as a dialogue between two important voices in contemporary moving image art.
Collected in a single volume, and illustrated by extracts from Paolo Gioli's films, are essays and notes written over a twenty year period by Jean-Michel Bouhours, currently a curator of Modern Collections at the Musée national d’art moderne - Centre Pompidou in Paris. For many years, Bouhours directed the museum’s film programme and has long been an active member of Light Cone.
Mit dem Projekt The Formative Years wird ein Bereich der Filmgeschichte sichtbar und zugänglich gemacht, an dem sich angesichts der Umbrüche von einer analogen in eine digitale Welt höchst aktuelle Entwicklungen diskutieren lassen.
Three distinct locations are brought together in this film Three Studies in Geography (2011), which encompasses three previously separate films made over the last ten years. Each location presents a particular balance of land, sky and water. The first par
Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue.
Pionnière du cinéma, Germaine Dulac (1882-1942) est une des grandes figures de l'Avant-Garde française des Années 20. Personnalité importante, elle initiera et sera à la tête de nombreuses organisations et, parallèlement, mènera une activité inlassable pour la défense des droits des femmes.
Dans ses réalisations, Dulac expérimente les nouvelles possibilités d'expression du cinéma. Elle réalisera une vingtaine de films à partir de 1916. La Souriante Mme Beudet (1923) et La Coquille et le clergyman (1927), d'après Antonin Artaud, sont parmi ses films marquants.
diárias, d jonas mekas (dienoraščiai) aparece pela primeira vez em português e em espanhol. trabalho a dez mãos realizado pelo conluio cisplatino .txt / a tradução tomou três anos de empenho, tornando-se possível pelo auxílio de parceiros lituanos. jonas mekas viu nascer e florescer o projeto, mas não sua conclusão, falecendo no início de 2019 pouco antes do último ponto final. esta edição expõe apoética do conhecido happy man e celebrado film-maker
This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking. It acts as a form of reclamation by integrating films having received inadequate historical and critical recognition and placing these alongside films existing as accepted texts of the decade. This history challenges the problematic 'return to image' thesis, providing examples of written evidence and demonstrating how this has problematically perpetuated a flawed account of the decade. This is the first extensive overview of 1970s filmmaking, contextualizing films within broader aesthetic, theoretical and socio-political frameworks. The detailed textual and comparative analyses offer unique approaches to individual films, shedding light on technical, aesthetic and economic decisions informing filmmaking. As such, it provides a unique understanding of how experimental filmmaking grew from a small handful of films and filmmakers, at the start of the 1970s, to a veritable 'explosion' in filmmaking by the end of the decade.
Having learnt from experimental and vanguard cinema, as well as contemporary music, Roberto Nanni is constantly looking for a synthesis between a visual and audio language which can with rare non-chalance confuse documentation and abstractism. An emotional deconstruction that questions every type of language and refuses conventional narration.
The book brings together notes, photos, sketches, precious testimonies of his research and of his intimate knowledge of technical and expressive means, as well as Stefano Catucci and Bruno Di Marino's critical texts.
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