Poéticas del movimiento viene a otorgar visibilidad a un objeto que ha sido excluido de la mayoría de los estudios sobre el audiovisual clásicos: el cine y video experimental argentino.
Kurt Kren was a vital figure in Austrian avant-garde cinema of the post-war period. His structural films, often shot frame-by-frame following elaborately pre-scored charts and diagrams, have influenced filmmakers for decades, even as Kren himself has remained a nomadic and obscure public figure. Kurt Kren, edited by Nicky Hamlyn, Simon Payne, and A. L. Rees, brings together interviews with Kren, film scores, and classic, out-of-print essays, alongside the reflections of contemporary academics and filmmakers, to add much-needed critical discussion of Kren’s legacy.
A rare behind-the-scenes view of the exploding New York “underground” in the late sixities, a turbulent time and place that was to change American culture forever. A German TV crew, led by journalist Gideon Bachmann, explores the epicenter of the sixties revolution in art, music, poetry and film and interviews the main players in the “New American Cinema,” that was born on the streets of New York.
"'My Seven places' starts at the moment I was evicted from several places which are dear to me. They served me well as homes, both as place for living and working. This was the start of my urban wandering, which would take me ten years - a journey of 300.000 kilometers - before returning just about to my starting point. The adventure was both physical and metaphysical.
Klaus Telscher is one of the most important German experimental filmmakers of the 1980s and 90s. His sophisticated work is atmospherically dense, playful as well as caustic, and his complex filmic structures are matched by his subtle photography.
Italy was a vibrant centre of video art production and exhibition throughout the 1970s and 1980s. This early seminal experimentation attracted artists from all over the world and laid the foundation for video art. However since then, early Italian video art has received only scant international exposure. Its contribution to the history of video as an art form has for too long escaped the recognition that it so unequivocally deserves.
This collection of essays by Peter Gidal includes “Theory and Definition of Structural/Materialist Film” and other texts on metaphor, narrative, and against sexual representation. Also discussed in their specificity are works by Samuel Beckett, Thérèse Oulton, Gerhard Richter and Andy Warhol. Throughout, Gidal’s writing attempts a political aesthetics, polemical as well as theoretical. One of the foremost experimental film-makers in Britain since the late 1960s, Peter Gidal was a central figure at the London Film-Makers’ Co-operative, and taught advanced film theory at the Royal College of Art. His previous books include Andy Warhol: Films and Paintings (1971), Understanding Beckett (1986) and Materialist Film (1989).
With a large-format image section and a detailed text section with essays by theorists, artists and companions, this catalog covers everything from Paul Sharits' early structural films through his unique film spaces, graphic works, up to little-known scenic late work. On the basis of many previously unseen works and new research, this catalog approaches an overall impression of this through abstraction and corporeality artistic creation.
In this book, Laura Marks examines one of the world’s most impressive, and affecting, bodies of independent and experimental cinema from the last twenty-five years: film and video works from the Arabic-speaking world. Some of these works’ creative strategies are shared by filmmakers around the world; others arise from the particular economic, social, political, and historical circumstances of Arab countries, whose urgency, Marks argues, seems to demand experiment and invention.
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.
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