The celebrated critic and film scholar Annette Michelson saw the avant-garde filmmakers of the 1950s and 1960s as radically redefining and extending the Modernist tradition of painting and sculpture, and in essays that were as engaging as they were influential and as lucid as they were learned, she set out to demonstrate the importance of the underappreciated medium of film. On the Eve of the Future collects more than thirty years’ worth of those essays, focusing on her most relevant engagements with avant-garde production in experimental cinema, particularly with
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Available for the first time on DVD, Guy Sherwin's acclaimed Short Film Series, a unique collection of interconnected 16mm 3 minute films started in 1975. The series is held together by certain formal considerations: each film is three minutes long, i.e. the length of a roll of 16mm film, all films are b/w and silent, and the order in which they are shown is flexible. Apart from this there is a range of imagery from portraiture to still life to travel. The films operate on the border between movement and stillness, revealing their inner logic through an active engagement in looking.
This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives.
The 1960s and 1970s were a defining period for artists’ film and video, and the London Film-Makers’ Co-operative (LFMC) was one of the major international centres. Shoot Shoot Shoot documents the first decade of an artist-led organisation that pioneered the moving image as an art form in the UK, tracing its development from within London’s counterculture towards establishing its own identity within premises that uniquely incorporated a distribution office, cinema space and film workshop.
Mekas' first completed diary film, this is an epic portrait of the New York avant-garde art scene of the 60s and a groundbreaking work of personal cinema.
As Hollis Frampton's photographs and celebrated experimental films were testing the boundaries of the camera arts in the 1960s and 1970s, his provocative and highly literate writings were attempting to establish an intellectually resonant form of discourse for these critically underexplored fields. It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art.
Working outside the mainstream, the wildly prolific, visionary Stan Brakhage made more than 350 films over a half century. Challenging all taboos in his exploration of “birth, sex, death, and the search for God,” he turned his camera on explicit lovemakin
The present publication in e-book format is an english translation from the original 1994 edition, now out-of-print, with a new preface by PROSPER HILLAIRET that puts DULAC’s importance and current relevance into perspective, and a foreword by TAMI M. WILLIAMS, president of Domitor – the International Society for the Study of Early Cinema and author of Germaine Dulac: A Cinema of Sensations.
English translation by Scott Hammen
Foreword by Tami M. Williams
New preface by Prosper Hillairet
Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership.
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Jonas Mekas has worked together with Andy Warhol, George Maciunas, John Lennon, and many others. In New York he was an influential figure in the New American Cinema, although he came to film-making relatively late. In 1944 Mekas and his younger brother Adolfas had to flee from the Nazis for copying leaflets. They were interned for eight months in a labour camp in Elmshorn.