Cinédoc Paris Films Coop’s “Experimental Film Collection” DVD collection aims to promote major works from the vanguard and experimental cinema heritage. Claudine Eizykman, disappeared in June 2018, was the co-founder of Paris Films Coop in 1974 and Cinédoc in 1979, of which she was president until 2018.
I Seem to Live. The New York Diaries, 1950–2014 is Jonas Mekas’s key literary work. The first volume of this magnum opus, covering the period from 1950-69, appears posthumously one year after his death. It stands on an equal footing with his cinematic oeuvre, which he initially developed together with his brother Adolfas after their arrival in New York. In 1954, the two brothers founded Film Culture magazine, and in 1958 Jonas began writing a weekly column for The Village Voice.
diárias, d jonas mekas (dienoraščiai) aparece pela primeira vez em português e em espanhol. trabalho a dez mãos realizado pelo conluio cisplatino .txt / a tradução tomou três anos de empenho, tornando-se possível pelo auxílio de parceiros lituanos. jonas mekas viu nascer e florescer o projeto, mas não sua conclusão, falecendo no início de 2019 pouco antes do último ponto final. esta edição expõe apoética do conhecido happy man e celebrado film-maker
Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue.
Essential texts on the work of the influential artist Michael Snow: essays and interviews spanning more than four decades. Edited by Annette Michelson and Kenneth White.
I want art to stand strong, to display how it manipulates its audience. I want it to take up their expectations, their sense of the world, their predispositions toward the way they think or use their language, and then to use these things perversely, politically, colorfully, “expressively.”
—Tony Conrad, “Dolomite: Having No Trust in Readers”
Dominic Angerame (b. Albany, New York, USA, 1949) is an American experimental filmmaker who has directed more than 35 films since 1969, and has presented films in film festivals worldwide. In 2006, Angerame presented his films Pixiescope, Waifen Maiden, Consume, and Anaconda Targets at the Havana Film Festival, re-opening the festival to experimental cinema.
In Azul Profundo Sebastian Wiedemann plunges into the transorganic space of Blue, a cinematic state of complete communion with the depths of Nature’s cosmological memory. Blue as guideline into a cinema of receptive profusion and total connection with one's intrinsic sensorial capacities. Deep Blue as cinematic wild experience and experiment of thinking, as a radical adventure into the potential of an unexpected speculative scenario where the verb to blue gains uncountable affective tonalities.
[Paul Clipson’s films] are a photo-chemical catalog of the visible world, charged with psychic energy, scored partly by chance, and imbued with a generosity of being.
-Otie Wheeler, MUBI Notebook
Clipson’s fillms are unique to the contemporary moment in their visual intensity, but also in their commitment to a realm beyond language, beyond the culture of ‘information.’ Clipson wants to deliver us knowledge of the world—real, discrete, actual things.
-Dan Browne, San Francisco Cinematheque
An in-depth study of the expanding role of the moving image in British art over the past thirty years.
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