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.
Perfect works have a way of appearing unobtrusive or simple, the complexities seeming to be so correct that they flow—mesmerize one through their form—a form that bespeaks of harmony between many aesthetic concerns. Larry Gottheim's Doorway is such a film. His concern for working with edges, isolating details, the prominence of the frame as a shape and revealer of edges, love of photographic texture, are all dealt with lucidly in this film.
Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation?
Gene Youngblood’s lecture, Secession from the Broadcast, is cartographic by design, a lantern & compass for those determined to extirpate their operations from under the clutches of the mass media hydra. Breathing as though alive, through this manifesto Youngblood’s words serve as call to action, a call for a rebellion of intensely illuminated and unexampled proportions. Fused by Youngblood’s innate desires, this work showcases a praxis and research that spans most of a lifetime.
Margaret Tait, filmmaker and poet, was born in Orkney in 1918. She trained first as a medical doctor before studying film in Rome in the 1950s. After returning to Edinburgh, Tait established her film studio, Ancona Films, before eventually returning to Orkney in the 1960s, where she lived and continued to make films until her death in 1999. Personae is Tait’s previously unpublished non-fiction manuscript edited by Sarah Neely with a selection of photographs from Margaret Tait’s personal archive with a foreword by Ali Smith and beautifully designed by Maeve Redmond.
The American artist Kevin Jerome Everson has created a remarkable body of moving image work that co-exists within film and art exhibition contexts. With a sense of place and history, his films, shot primarily on 16mm, combine scripted and documentary moments with touches of formalism. The focus is on craft and duration, and the gestures and tasks caused by certain physical and socio-economic conditions in the lives, labour and leisure of working-class Black Americans and people of African descent.
This is the story of two short-lived artist-run spaces that are associated with some of the most innovative developments in the arts in Britain in the late 1960s. The Drury Lane Arts Lab (1967–69) was home to the first UK screenings of Andy Warhol's twin-screen 3 hour film Chelsea Girls, challenging exhibitions (John and Yoko / John Latham / Takis / Roelof Louw), poetry and music (first UK performance of Erik Satie's 24-hour Vexations) and fringe theatre (People Show / Freehold / Jane Arden's Vagina Rex and the Gas Oven / Will Spoor Mime Theatre).
"Michael Snow has challenged the reader’s/viewer's notion of a book, indeed one's very notion of perception." - Benjamin Buchloh
Compelling interviews with notables in avant-garde cinema offer insights into moving image art--its creative processes, formative influences, and hidden psychic effects. Through interviews with George Manupelli, Chick Strand, Tom Gunning, Lynne Sachs, Jay Rosenblatt, Martha Colburn, Evan Meaney, Mike Hoolboom, Robert Nelson, and Nina Menkes, Strange Questions links powerful personal stories with the contemporary media-scape.
Questions addressed in this collection include:
What role does the audience play in the creative process?
Special Edition: Digipack DVD with 4 short films and 2 bonus films by filmmakers Maria Klonaris and Katerina Thomadaki. 48-page booklet.
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