Publicaciones más valoradas según las votaciones de los usuarios de la página.
Foreword: Zdenka Badovinac; Preface: Bojana Piškur, Ana Janevski, Jurij Meden, Stevan Vuković; A Brief Introduction to Slovenian Experimental Film: Jurij Meden, Bojana Piškur; Notes on Paradigms in Experimental Film in Socialist Yugoslavia: Stevan Vuković
Over the last decade there has been a phenomenal international resurgence of interest and activity in the field of Underground film and video. In Britain and North America there has been a new wave of highly influential Underground, Microcinema and Protes
Andy Warhol, one of the twentieth century's major visual artists, was a prolific filmmaker who made hundreds of films, many of them--Sleep, Empire, Blow Job, The Chelsea Girls, and Blue Movie--seminal but misunderstood contributions to the history of American cinema. In the first comprehensive study of Warhol's films, J.J. Murphy provides a detailed survey and analysis. He discusses Warhol's early films, sound portraits, involvement with multimedia (including The Velvet Underground), and sexploitation films, as well as the more commercial works he produced for Paul Morrissey in the late 1960s and early 1970s. Murphy's close readings of the films illuminate Warhol's brilliant collaborations with writers, performers, other artists, and filmmakers. The book further demonstrates how Warhol's use of the camera transformed the events being filmed and how his own unique brand of psychodrama created dramatic tension within the works.
Glorious catastrophe presents a detailed critical analysis of the work of Jack Smith from the early 1960s until his AIDS-related death in 1989. Dominic Johnson argues that Smith's work offers critical strategies for rethinking art's histories after 1960. Heralded by peers as well as later generations of artists, Smith is an icon of the New York avant-garde. Nevertheless, he is conspicuously absent from dominant histories of American culture in the 1960s, as well as from narratives of the impact that decade would have on coming years.
Sabine Folie and Susanne Titz, edited for the Generali Foundation, Vienna and Museum Abteiberg, Mönchengladbach 2012.
With introductions by Sabine Folie and Susanne Titz
Józef Robakowski. My Own Cinema is a new publication portraying a precursor of the film neo-avant-garde and the co-creator of the video art scene in Poland. An artist whose image combines that of an experimenter and media analyst with those of an anarchistic neo-Dadaist and self-declared nihilist; heir to the traditions of the avant-garde, enthusiast for cultural peripheries, valued teacher, and indefatigable opponent of institutional hierarchies.
“Moving Shadows: Experimental Film Practices in a Landscape of Change is a wide-ranging and accessible introduction to contemporary artisanal film practice, capturing a moment when, in the face of new digital technologies, experimental filmmakers see themselves as [what van Ingen calls] “lo-fi analogue” artists.
The work of these two German artists, Christoph Girardet (* 1966) and Matthias Müller (* 1961), is of outstanding importance for filmic and video art. The publication offers, for the first time, in-depth insights into the joint filmic and photographic oeuvre of these two artists. Girardet and Müller have been working in continuous collaboration for more than 14 years now, primarily on the basis of filmic material already in existence (found footage), from which they produce associative/narrative compositions.
With reference to recent neurological research into Post-Traumatic Stress Disorder (PTSD) using new imaging technologies and models of implicit and explicit memory systems developed from this research, The Performance of Trauma in Moving Image Art examines the capacity of an artist’s cinema of experimental and avant-garde film to perform and communicate traumatic experience.
Alternative Projections: Experimental Film in Los Angeles, 1945-1980 is a ground-breaking anthology that features papers from a conference and series of film screenings on postwar avant-garde filmmaking in Los Angeles sponsored by Filmforum, the Getty Foundation, and the University of Southern California’s School of Cinematic Arts, together with newly-commissioned essays, an account of the screening series, reprints of historical documents by and about experimental filmmakers in the region, and other rare photographs and ephemera. The resulting diverse and multi-voiced collection is of great importance, not simply for its relevance to Los Angeles, but also for its general discoveries and projections about alternative cinemas.
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