Junk; Ai (Love); On Eye Rape; A Dance Party in the Kingdom of Lilliput. Four films from one of the first generation of NY underground experimental filmmakers, films from a golden age of experimentation.
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The essays collected here discuss his films, including the underground classics Walden and The Brig ; his founding and longtime editorship of the influential avant-garde journal Film Culture ; and his widely read column in The Village Voice .
The Memo Book contains specially commissioned essays on different aspects of Müller\'s work as well as an extensive interview by Scott MacDonald. Matthias Müller, born in 1961, is a filmmaker as well as a visual artist working in video and photography
Film festivals have had varied and complex histories starting with Benito Mussolini's invention of the form in Venice in 1932. Since then (and too often) festivals are thought of in terms of Hollywood's film industry. This text is a celebration of all things un-dependently cinematic. The essays contained in this volume explore the cultural value of alternative film festivals from a wide range of perspectives and experiences.
From the early abstract animation films created at the start of this century to the latest in technologically oriented films, here is a comprehensive anthology of cinematic animation. It brings together over 50 interviews and first-person accounts that describe the work of 38 innovative artist-filmmakers. Such pioneers as Alexander Alexeieff and Claire Parker, Hans Richter, Vicking Eggerling, and Oskkar Fishinger are alongside the recent avant-garde of Robert Breer, Harry Smith, Stan VanDer Beek, Peter Foldes, and Ed Emschweiller.
This book is a document. It’s an account via images of the evening of June 20, 2016, spent in Vienna in the company of the artist, Peter Kubelka. With his wife Luise, Kubelka had invited some friends: the photographer Heinz Cibulka and the filmmaker Jonas Mekas who had come with his son, Sebastian, specifically to film the party.
Landscape Plus is the first monography on the work of the Spanish-born, Los Angeles-based filmmaker Laida Lertxundi, published in collaboration with fluent.
With essays by Erika Balsom, Anna Mannubens, Laida Lertxundi, and Alejandro Alonso Díaz this book explores the wider practice of the artist, featuring a number of premiered visuals, plus sets of images illustrating her exhibitions, projects, and works. For the first time since Lertxundi began making films, a publication maps her overall practice and allows for enhanced readings that navigate around film-theory, feminism, and subjectivity. As a whole, the book intends to present an essential constellation of Lertxundi’s universe.
Standish Lawder was a film artist and an art historian. This book is an attempt both to appreciate Lawder as an artist and to make his singular achievement as an art historian more available.
Two essays on his films accompany the complete text of his pioneering study of the European avant-garde of the 1920s, The Cubist Cinema.
Links are provided to some of Lawder’s films as well as many of the seminal works in the early history of experimental film.
Francisca Benitez’s Preemptive Disappearance, describes the effects of the Patriot Act on artists living in New York as told through the tender recounting of someone who discovers, when returning home one day, that her husband has been arrested for taking photographs ‘in the wrong place’.