Ken Jacobs has been making cinema for more than fifty years. Along with over thirty film and video works, he has created an array of shadow plays, sound pieces, installations, and magic lantern and film performances that have transformed how we look at and think about moving images. He is part of the permanent collections at MoMA and the Whitney, and his work has been celebrated in Europe and the U.S. While his importance is well-recognized, this is the first volume dedicated entirely to him.
Best rated publications according to the votes of the website's visitors.
- 39.95 USD
Atelier Impopulaire Split #1 consists of an original text by Bruce McClure, an architect and performer based in New York. It is titled Know Thy Instrument, and based on a lecture given by Hollis Frampton on 30 October 1968, then published as A Lecture. Both with his text and projection performance, McClure aims at reflecting upon the body/technology dynamics, the relation with the whole projection apparatus, and the implications deriving from the removal of some of its parts. This all results in a modification of its mechanical structure, thus provoking a systemic abstraction of the obscurity/light duality in the guise of sound patterns.
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).
Maya Deren\'s dance films
Over the past twenty years, Bill Morrison has built a filmography of more than thirty striking and original works which have been presented in cinemas, museums, galleries and concert halls worldwide. Making use of rare archival footage, which has often been decayed by the passing of time, Morrison explores the power of film as a medium which is evocative of memory and gives rise to a sense of collective mythology. Morrison's exquisite and timeless films are scored by the cream of the US underground / avant-garde music scene, including Dave Douglas, Henryk Górecki and Bill Frisell.
Uncollected Texts draws together a number of Carolee Schneemann’s earliest writings—many exceedingly rare and several that are published here for the first time—ranging from letters to the editor, dream journals, and film criticism, to satirical poems, detailed discussions of her art, and pointed feminist critiques. Edited by Branden W. Joseph, the book includes 30 texts by Carolee Schneemann written between 1956 and 1981, as well as an introduction by Joseph.
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
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.
What does it mean for film and video to be experimental? In this collection of essays framed by the concept “ex-”—meaning from, outside, and no longer—Akira Mizuta Lippit explores the aesthetic, technical, and theoretical reverberations of avant-garde film and video. Ex-Cinema is a sustained reflection on the ways in which experimental media artists move outside the conventions of mainstream cinema and initiate a dialogue on the meaning of cinema itself.
Film as Film: The Collected Writings of Gregory J. Markopoulos contains some ninety out-of-print or previously unavailable articles by the Greek-American filmmaker who, as a contemporary of Kenneth Anger, Stan Brakhage and Andy Warhol, was at the forefront of a movement that established a truly independent form of cinema. Beginning with his early writings on the American avant-garde and auteurs such as Dreyer, Bresson and Mizoguchi, it also features numerous essays on Markopoulos’ own practice, and on films by Robert Beavers, that were circulated only in journals, self-published editions or programme notes. The texts become increasingly metaphysical and poetic as the filmmaker pursued his ideal of Temenos, an archive and screening space to be located at a remote site in the Peloponnese where his epic final work could be viewed in harmony with the Greek landscape. Gregory J. Markopoulos (1928-1992) is a unique figure in film history, whose life’s work stands in testament to his strength of vision and commitment to the medium.
Edited by Mark Webber, with a foreword by P. Adams Sitney
Price:£20 / €25 / $20