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Double Vision is a beautifully written work of biography and criticism that tells the inside story of Robert Beavers (b. 1949), a major American avant-garde filmmaker. Until now, Beavers's dramatic life of itinerancy and resistance to commercial circulation has obscured his recognition as one of today's most significant living filmmakers.
COUSIN Collective and Light Industry present the first critical anthology devoted to Indigenous experimental cinema. Temporal Territories brings together newly commissioned pieces alongside reprints of key writings on the subject, featuring theoretical interventions and artist portfolios, intergenerational dialogues and manifestos. With topics ranging from science fiction to found-footage filmmaking to the strange case of the DeMille Indians, the book surveys a varied and vital body of work, and suggests new forms still to come.
Light Cone Editions presents an anthology of texts by Jean-Michel Bouhours on Paolo Gioli, in a bilingual edition (French and English), introduced by a preface by Georges Didi-Huberman.
A new publication by Stereo Editions featuring two extensive interviews with Annik Leroy and Julie Morel.
This book explores the practice of artist filmmaker William Raban from 1970 to the present. The trajectory from his early experimental, landscape and expanded cinema works of the 1970s leads into more recent films on the River Thames and London; his techniques are examined and engagingly explained to attract a wide readership including both experts and those with little knowledge of the subject.
Found Footage & Collage Films: The Artist’s Voice is a limited-edition book. It includes forty original writings from invited visual artists and filmmakers who work with the archive in their artistic practice.
Black Screens, White Frames offers a new understanding of cinematic blankness. Drawing on Gilles Deleuze’s philosophy, Tanya Shilina-Conte provides a detailed examination of non-images throughout film history. In different arts, including cinema, absence has often been understood in a negative way—as a lack or lacuna, a vacuum or void. To remedy this, Shilina-Conte advances the concept of the filmmaking machine as an abstract art machine in constant production, which shifts our understanding of absence in cinema from negative to generative theorization.
An analysis of artistic processes and filmic forms resulting from hybridization with dance. An exploration of a different history of experimental cine-choreographic forms, in which movement inspired by or aspiring to dance takes shape in the material of the film itself, rather than in the physical bodies displayed on screen.
This critical anthology of newly commissioned essays by established and emerging scholars examines the work and legacy of Annette Michelson (1922–2018), pioneering critic and theorist of avant-garde cinema. Michelson’s insights transformed our understanding of cinema through her provocative and profoundly original analyses. As a contributor and editor for Artforum in the 1960s and early 1970s, then founding editor of the journal October, Michelson defined the terms of moving image art and its relation to painting, sculpture, and performance.
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