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"Hallelujah the Hills is a gloriously funny and far-out farce about two great big overgrown boy scouts who pratfall in love with the same girl. The weirdest, wooziest, wackiest screen comedyS a slapstick poem, an intellectual hellzapoppin, a gloriously fr
Alfred Leslie is a pivotal American artist-painter-filmmaker whose work spans the past fifty years. A celebrated contemporary of the Abstract Expressionists and a key figure in the extraordinary social milieu of downtown New York from the 1950s and 60s toAlfred Leslie is a pivotal American artist-painter-filmmaker whose work spans the past fifty years. A celebrated contemporary of the Abstract Expressionists and a key figure in the extraordinary social milieu of downtown New York from the 1950s and 60s to the present, his own canvases were amongst the most revered of his peers. In 1964 he made Pull My Daisy with the photographer Robert Frank and in 1966 collaborated with the inimitable poet Frank O’Hara on The Last Clean Shirt. In 1960 he edited and published the amazing collection of texts and drawings that form the ‘one shot review’ The Hasty Papers – in and of itself a summation of cultural activity with contributions from Allen Ginsberg, John Ashbery and Fidel Castro amongst may others. Leslie dramatically moved away from abstraction to make giant almost hyper-real portraits, the majority of which were destroyed in the now infamous fire that ripped through his studio and its neighbouring blocks on October 17 1966. This utterly devastating event, that completely destroyed paintings, films and manuscripts, continues to inform his work today.
"The Brig" is a modern Inferno. The men who enter it abandon all hope of mercy. Here, hell is a Marine Corps prison in which humiliation and brutality are dished out according to the book, with guards and inmates performing a mad ritual of degradation...
The present publication in e-book format is an english translation from the original 1994 edition, now out-of-print, with a new preface by PROSPER HILLAIRET that puts DULAC’s importance and current relevance into perspective, and a foreword by TAMI M. WILLIAMS, president of Domitor – the International Society for the Study of Early Cinema and author of Germaine Dulac: A Cinema of Sensations.
English translation by Scott Hammen
Foreword by Tami M. Williams
New preface by Prosper Hillairet
Este libro analiza las formas audiovisuales experimentales que han tenido presencia desde la segunda mitad del siglo XX en Chile. Trata de cine y video experimental, incluyendo nociones como las de video-arte, cine-expandido, video de artista, video-instalación, video-creación, documental experimental o ensayo audiovisual. Estas prácticas los autores las piensan en conjunto, no como algo pretérito, sino como un presente activo inscrito en una genealogía histórica. Visiones Laterales.
Cross over borders of independent and experimental cinema with Unexplored Territories, delivering nine award-winning and favorite short films from the 47th Ann Arbor Film Festival. DVD includes exclusive behind-the-scenes video, "Making the Arbor Art Mobile."
Solomon Nagler’s film work twists and turns through the uncanny topological spaces between abstraction and representation, negation and affirmation, place and placelessness. Allegorical by design, Nagler’s vision is composed of fragments of recognizable r
Helen Hill (1970-2007) was a filmmaker and activist raised in Columbia, South Carolina and settled in New Orleans, Louisiana. She studied Experimental Animation at Harvard and California Institute of the Arts. She taught film workshops wherever she went,
Birgit Hein belongs to the filmmakers who have had a lasting influence on the history and the present scene of the experimental film. In addition to her films she wrote a number of critical texts that, since the 1970’s, helped to establish in the consciousness of a public, interested in art and film, the genre of experimental film. Birgit Hein argues that film work is impossible without a notion of the actual possibilities and purposes of the film medium, and that every single film project must be based on this general idea.
¿Cómo se presenta el cine en las prácticas artísticas cuando éste ha sido progresivamente despojado de su aparato tecnológico? ¿Es el cine una técnica o un método de asociación mental que estimula el pensamiento? Desde su mismo nacimiento, el cine se vio ceñido a una serie de normas y valores que le impedían expresar la naturaleza radical de sus potencias y, no obstante, unos cuantos visionarios han logrado extirparlo de su laberinto circular. No se trata de practicar una destrucción total del cine en todos los casos, sino de transformarlo en otras formas artísticas. Paracinema, en oposición al cine expandido, es la realización de la idea de cine a un nivel conceptual, experiencial y artístico. Se trata, en cualquier caso, de generar una experiencia cinemática desconectada, entera o parcialmente de su aparato tradicional.
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