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Junk; Ai (Love); On Eye Rape; A Dance Party in the Kingdom of Lilliput. Four films from one of the first generation of NY underground experimental filmmakers, films from a golden age of experimentation.
A fine retrospective of the pioneer of \'direct film\' whose techniques included painting and scratching images directly onto celluloid, using found footage, casting shadows of objects onto unexposed film and experimenting with early colour techniques. A
From the man revered as \'the artist-alchemist of celluloid\', this is an amazing marriage of sound and image. The characters, stuck in an infernal eternity take a staircase that leads to a final luminous irradiation.
Lower East Side film took off using the combat cameras developed during the Second World War, flourished along with the Beats and the New Wave, and culminated in the eighties art scene. The genre has its own pantheon, including the director Jack Smith, th
Bringing alive a remarkable moment in American cultural history, Scott MacDonald tells the colorful story of how a small, backyard organization in the San Francisco Bay Area emerged in the 1960s and evolved to become a major force in the development of in
Un recueil de textes de chercheurs, d'artistes et de critiques explorant les relations que la filmographie de Morgan Fisher entretient avec les nombreux autres domaines de création de l'artiste et cinéaste américain.
This is the inspiring story of The Flaherty, one of the oldest continuously running nonprofit media arts institutions in the world, which has shaped the development of independent film, video, and emerging forms in the United States over the past 60 years. Combining the words of legendary independent filmmakers with a detailed history of The Flaherty, Patricia R. Zimmermann and Scott MacDonald showcase its history and legacy, amply demonstrating how the relationships created at the annual Flaherty seminar have been instrumental in transforming American media history.
A pioneer of cinema, Germaine Dulac (1882-1942) is one of the major figures of the 1920s French Avant-Garde. Hugely influential, she founded and directed numerous organisations and, in parallel, was a tireless activist in the defense of women’s rights.
Whether he is working in the so-called documentary or so-called fictional mode, with 16mm, 35mm or high-8-video: for Pilz the central issue is our perception and the film or video is a disposition, a condition for the temporal and spatial organization of
With her characteristic consistency Gertrude Moser-Wagner has viewed her work as a sculptress in the conceptual tradition even at a time when other approaches were more in the limelight. She uses very precise artistic stategies, such as the transferral
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