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Standish Lawder was a film artist and an art historian. This book is an attempt both to appreciate Lawder as an artist and to make his singular achievement as an art historian more available.
Two essays on his films accompany the complete text of his pioneering study of the European avant-garde of the 1920s, The Cubist Cinema.
Las cineastas alemanas Ute Aurand, Helga Fanderl y Renate Sami y la chilena Jeannette Muñoz son las protagonistas del libro que se publicará en la 14ª edición de Punto de Vista. Su trabajo, en la tradición del cine de vanguardia y experimental, ha sido reconocido en prestigiosos festivales de cine internacionales como Berlín, Oberhausen, Nueva York y Róterdam.
Drawing on film theory, literary modernism, psychology and art history, Fields of View elucidates an expanded network of connections between avant-garde film and wider culture. In this bold and original work, A.L. Rees identifies three key terms - 'field', 'frame' and 'interval' and charts their use by filmmakers and theorists such as Dziga Vertov, Sergei Eisenstein, Bruce Baillie, Maya Deren, Malcolm Le Grice and Werner Nekes, from the 1920s through to the present day.
Expanded cinema: avant-garde moving image works that claim new territory for the cinematic, beyond the bounds of familiar filmmaking practices and the traditional theatrical exhibition space. First emerging in the 1960s amidst seismic shifts in the arts, multi-screen films, live cinematic performance, light art, kinetic art, video, and computer-generated imagery - all placed under expanded cinema's umbrella - re-emerged at the dawn of the 2000s, opening a vast new horizon of possibility for the moving image, and perhaps even heralding the end of cinema as we know it.
This book assesses the contemporary status of photochemical film practice against a backdrop of technological transition and obsolescence. It argues for the continued relevance of material engagement for opening up alternative ways of seeing and sensing the world. Questioning narratives of replacement and notions of fetishism and nostalgia, the book sketches out the contours of a photochemical renaissance driven by collective passion, creative resistance and artistic reinvention.
Intermedia and Expanded Cinema, both as critical approach and artistic practice, left an indelible mark in a period of Japanese art history that is broadly considered to be one of its most dynamic moments in the wake of its postwar reemergence.
Despite the burgeoning interest in academic and curatorial circles in this segment of Japanese art history, the paucity of readily available material in a language other that Japanese has meant the local context, particularly the ways in which the terms were critically debated, was relatively neglected.
"Michael Snow has challenged the reader’s/viewer's notion of a book, indeed one's very notion of perception." - Benjamin Buchloh
Like David James' earlier collection of essays, Power Misses: Essays Across (Un)Popular Culture (1996), the present volume, Power Misses II: Cinema, Asian and Modern is concerned with popular cultural activity that propose alternatives and opposition to capitalist media. Now with a wider frame of reference, it moves globally from west to east, beginning with films made during the Korean Democracy Movement, and then turning to socialist realism in China and Taiwan, and to Asian American film and poetry in Los Angeles. Several other avant-garde film movements in L.A.
The impact of significant loss has exerted a powerful influence on several American avant-garde filmmakers. The Melancholy Lens offers a detailed look at biographical and psychological factors discernible in the art of Maya Deren, Stan Brakhage, Gregory Markopoulos, Robert Beavers, and Ernie Gehr with an aim toward a greater understanding of their work.
This beautiful and mysterious book whose unedited pages contain a collection of letters that the famous brothers Jonas and Adolfas Mekas sent from America to Semeniškiai village, Biržai district, Lithuanian Soviet Socialist Republic. They were all addressed to the most important addressee of their lives – their mother, Elzbieta Mekienė.
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