Publicaciones más valoradas según las votaciones de los usuarios de la página.
Animal Charm makes videos from other people\'s videos. By compositing TV and reducing it to a kind of tic-ridden babble, they force television to not make sense. While this disruption is playful, it also reveals an overall \'essence\' of mass culture that
Along with Anger\'s SCORPIO RISING and Warhol\'s CHELSEA GIRLS, Mike Kuchar\'s SINS OF THE FLESHAPOIDS remains one of the most influential films of the \'60s American Underground. Mike and his brother George (who co-wrote FLESHAPOIDS), were the godfathers
Constanze Ruhm´s computer animations and films, of which a selection is presented in the framework of this edition, range between architecture, narration and performance, and investigate interrelations between the languages of cinema and new media. By sho
It is, in a word, glorious.... what I feel is the inherent power and mystery of such material, the arrangement of these images and sounds into a definition of cinema constitutes one of the greatest pedagogic films I have seen.... my main reaction is to ha
Peter Weibel´s (earlier works) (...) belong to the heroic years of a period of upheaval in which everything seemed possible in art. However, the artist not only made his appearance as a critic of public media but took the opportunity of presenting his own
Harmonia, “harmonies,” analyzes the connections between glitch art, visual music, abstraction, and motion pictures. This collection is a chronological survey of glitch art pioneer Michael Betancourt’s artistic research into, around, and with digital motion pictures that theorizes and critiques visual music.
Working outside the mainstream, Stan Brakhage made nearly four hundred films. Challenging all taboos in his exploration of: birth, sex, death, and the search for God, Brakhage turned his camera on explicit lovemaking, childbirth, even autopsy. Many of his
For Seven Easy Pieces Marina Abramovic reenacted five seminal performance works by her peers, dating from the 1960’s and 70’s, and two of her own, interpreting them as one would a musical score. The project confronted the fact that little documentation ex
What does it mean for film and video to be experimental? In this collection of essays framed by the concept “ex-”—meaning from, outside, and no longer—Akira Mizuta Lippit explores the aesthetic, technical, and theoretical reverberations of avant-garde film and video. Ex-Cinema is a sustained reflection on the ways in which experimental media artists move outside the conventions of mainstream cinema and initiate a dialogue on the meaning of cinema itself.
Over the past half-century, two tendencies have dominated independent, artisanal filmmaking. One of these is the fascination with the material artifacts of cinema´s history: it is often called »found-footage filmmaking« and sometimes »recycled cinema«. Filmmakers working in this vein are often archeologists of cinema, aesthetically and/or ideologically engaging with the work of earlier generations of filmmakers of all kinds.
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