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In 1974 I moved to a rural property on Old Redwood Highway in Sonoma County near the town of Penngrove California... During the ensuing years... I could both record interesting moments and also weave a cinematic fabric equivalent to the gestural style and
The fourth volume in the BFI's British Artists' Films series - produced in partnership with arts documentary makers Illuminations and Arts Council England - features Jayne Parker, an artist who makes moving images for cinema, gallery and television.
Ken Jacobs is one of the most wildly creative and influential film artists and teachers in the history of the medium, and Kino Classics is proud to present this two-disc selection from his vast body of work (additional titles will be available digitally via Kino Now). Jacobs, born in Brooklyn, NY in 1933, studied Abstract Expressionism with Hans Hofmann before turning to filmmaking – where he became a prolific member of the underground scene, along with contemporaries Jonas Mekas, Jack Smith, and Stan Brakhage.
BOOM! is the secret history of the Exploding Cinema told by its key activists. And in particular it is the history of the Exploding Collective, a unique experiment in total democracy, open access, collective ownership and voluntary action. For the last 3 decades, this unfunded gang of radical cinema activists have been staging regular monthly open access nights of short D.I.Y. underground film in pubs, clubs and squats across London; turning shabby interiors into temporary convivial utopias that seethe with multiple moving projections.
A new reading of the work of a major American and international artist, well known for her depictions of the female body, of society's attitude to women and particularly for her pioneering work as a performance and video artist in the cause of feminism, in the context of artists' reactions to major world issues and a return of the historical genre in art today, underlining her unflagging commitment to the recording of history as it happens.
Published on the occasion of the eponymous exhibition at the Musée départemental d'art contemporain de Rochechouart in 2013.
Bartosch's only surviving film was made single-handely in Paris in 1932. Almost 45000 frames were animated on four different levels simultaneously, often with as many as 18 superimpositions made in the camera.
Scott MacDonald explores the cinematic territory between the traditional categories of "documentary" and "avant-garde" film, through candid, in-depth conversations with filmmakers whose work has challenged these categories. Arranged in an imaginative chronology and written to be accessible to any film-interested reader, the interviews in Avant-Doc chart half a century of thinking by inventive filmmakers such as Robert Gardner, Ed Pincus, Alfred Guzzetti, Ross McElwee, Leonard Retel Helmrich, Michael Glawogger, Susana de Sousa Dias, Jonathan Caouette, Pawel Wojtasik, and Todd Haynes. Recent breakthroughs by Amie Siegel, Jane Gillooly, Jennifer Proctor, Betzy Bromberg, and Godfrey Reggio are discussed; and considerable attention is paid to Harvard's innovative Sensory Ethnography Lab, producer of Sweetgrass, Leviathan, and Manakamana. A rare interview with pioneering scholar Annette Michelson begins Avant-Doc's meta-conversation.
"Jules Engel's films, uniquely among the leading exponents of abstract animation, exhibit a thoroughly Post-Modern sensibility: witty, eclectic, versatile, literate but accessible, classical but popular."
--Dr. William Moritz
Born in Germany in 1947, Helga Fanderl studied German, French and Italian literature before discovering cinema in the mid-1980s. Since her studies at the Frankfurt Städelschule School of Fine Arts and the Cooper Union School of Art in New York, she has developed her practice of Super 8 filming, programming film sessions that are different each time, making personal site-specific screenings, as well as exhibitions and installations.
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