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Cinédoc Paris Films Coop’s “Experimental Film Collection” DVD collection aims to promote major works from the vanguard and experimental cinema heritage. Claudine Eizykman, disappeared in June 2018, was the co-founder of Paris Films Coop in 1974 and Cinédoc in 1979, of which she was president until 2018.
Unseen Cinema: Early American Avant-Garde Film 1893-1941 premieres a comprehensive 20-program retrospective of the pre-Maya Deren inspired avant-garde film movement in America. Over 160 films in newly preserved and restored 35mm and 16mm film prints survey the hitherto unknown accomplishments of pioneer filmmakers working in the United States and abroad during the formative period of American film. The series postulates an innovative and often controversial view of experimental cinema as a product of avant-garde artists, of Hollywood directors, and of amateur movie-makers working collectively and as individuals at all levels of film production during the last decade of the 19th century and the first half of the 20th century.
Instants encompasses a new film by the Swiss artist Hannes Schüpbach and a literary text by the French archeologist and writer Joël-Claude Meffre. The artistic project and the publication that was created for it, with an essay by Marco Baschera (“Thinking in Images”), are devoted to a central point of convergence of the arts: the INSTANT. In photography, film, or literature, the instant in its “entrance” or “descent” signifies a performative opening in the sequence of time that radically breaks through any concept of linearity.
Matt McCormick and Morgan Currie curate a media-archaeological treasure trove of dumpster-rescued 16mm reels containing commercials, PSA’s, and TV ephemera from a delirious decade of polyester and smiley faces.
VARIATIONS includes twelve Canadian moving image and sound artists interpreting Poem (1957) by Michael Snow. The artists selected for this project approached the work from a number of different angles, perspectives and emotions.
Snow's poem provided an anchor for the contributing artists’ work to be fastened to, while giving them the freedom to allow their subjectivity to influence the result.
Explorar los intersticios estéticos e ideológicos de la dimensión sonora en el cine experimental es el motivo principal de esta investigación. En estas páginas se estudia el sonido desde una posición analítica que enfatiza la idiosincrasia de los procesos de creación acústicos de los cineastas, las rupturas sónicas que formulan sus películas y los desafíos auditivos que suscitan a la audiencia.
A DVD+book boxset containing four restored films by Gunvor Nelson and a 124-page book of interviews and critical articles by Julie Savelli.
The Swedish-American artist Gunvor Nelson figures among the most important experimental filmmakers of her generation. Her work considerably influenced the New American Cinema at the end of the 1960s, as much by its themes (women, the body, memory, dreams) as by its formal investigations (animation, collage, found footage).
Icon of the American avant-garde Hollis Frampton made rigorous, audacious, brainy, and downright thrilling films, leaving behind a body of work that remains unparalleled. In the 1960s, having started out as a poet and photographer, Frampton became fascina
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.
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.
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