Adam K. Beckett was an alchemist of the animated image. His brilliant, ground-breaking, films made in the 1970s still resonate today, seething with psychedelic imagery, abstraction, and playful eroticism, transcending the carnal to the cosmic. His optical virtuoso was a significant force in both animation and visual effects. He won numerous awards for his animations, contributed to the innovative work at the young Robert Abel and Associates, and was head of animation and rotoscoping on the inaugural Star Wars movie (1977).
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Maya Deren\'s dance films
"I am an eye. A mechanical eye. I am the machine that reveals the world to you as only the machine can see it.” - Dziga Vertov ("Kino-Eye")
Devotional Cinema, reprised from filmmaker Nathaniel Dorsky's lecture on religion and cinema at Princeton University, is a rare treasure of penetrating insight into the language of film. In a compelling style, somewhere between a Zen koan and a Victorian love story, Devotional Cinema makes the case for mindful viewing as a transcendent experience. In the process, Dorsky reflects upon the role of filmmaking in faith, prayer, pleasure, and the renewal of the human spirit. For Dorsky, the material nature of film illuminates a path to devotion. Devotional Cinema is a guide for makers and viewers who, like Dorsky, seek the 'elemental glory' of film." Kathleen Tyner (author of Literacy in A Digital World)
A confrontation with the codes of narrative-representational cinema is one of Peter Tscherkassky´s constant concerns. If one attempts to distill a constant from his films, then this must surely be the oscillation between the abstract and the concrete, bet
This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life.
De nombreuses performances artistiques aujourd’hui se proposent de remplacer le film par son énoncé sous la forme d’une conférence illustrée ou d’une lecture. Des fragments d’un film à venir (photographies, documents, fragments de scénario) sont présentés en guise du film lui-même. On peut s’interroger sur ces nouveaux formats. De quoi sont-ils le symptôme ? S’agit-il d’un futur performatif du cinéma ?
Poet and hero of the American counter-culture, Jonas Mekas, born in Lithuania in 1922, invented the diary form of film-making. Walden, his first completed diary film, an epic portrait of the New York avant-garde art scene of the 60s, is also a groundbreak
Originally a Nervous System work (presented live using a special film-projection contrivance that wife Flo and I would set up). The 1929 Laurel and Hardy short Berth Marks, filmed twice, with and without sound, is our glorious take-off point. In some ways
MQ2* is a publishing house specializing in experimental film and video whose main object is the promotion and publication of experimental audiovisual artists.
In its first publication MQ2* presents a selection of Narcisa Hirsch’s experimental films plus a bilingual book featuring a foreword by Victoria Sayago, a critical text by Emilio Bernini and a text written specifically for this publication by Narcisa herself.