The independent British film journal Afterimage published thirteen issues between 1970 and 1987. International in scope, it surveyed the many forms of radical cinema during an extraordinary period of film history. Having emerged in the wake of post-1968 cultural and political change, Afterimage charted contemporary developments with special issues on themes such as the avant-garde, Latin American cinema and visionary animation, and also looked back at early film pioneers.
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Produced on the occasion of Leslie Thornton’s major solo exhibition at the MIT List Visual Arts Center as well as a recent solo exhibition at Kunstverein Nurnberg, this richly illustrated volume is the first monograph on this important artist and filmmaker, offering essential, foundational scholarship on Thornton’s influential work in film and video.
Just as punk created a space for bands such as the Slits and Poly Styrene to challenge 1970s norms of femininity, through a transgressive, strident new female-ness, it also provoked experimental feminist film makers to initiate a parallel, lens-based challenge to patriarchal modes of film making.
Price:Paperback - 24,99 GBPHardback - 75 GBPEbook - 22,49 GBP
If it can be said that experimental filmmakers are "expanding" the artistic field through an exploration of the potencies, modes of dissemination, or even performance of the moving image, in the Anthropocene age, these practices hope for another kind of expansion: to expand our experience of nature.
Over the last four decades, American artist and filmmaker Peggy Ahwesh has forged a distinctive moving image practice in the ruins of originality and authority. With contributions from Erika Balsom, Elena Gorfinkel, Tendai Mutambu, John David Rhodes and Shola von Rheinold, Peggy Ahwesh: Vision Machines explores how she has extended and contested the paradigm of experimental cinema.
This beautiful and mysterious book whose unedited pages contain a collection of letters that the famous brothers Jonas and Adolfas Mekas sent from America to Semeniškiai village, Biržai district, Lithuanian Soviet Socialist Republic. They were all addressed to the most important addressee of their lives – their mother, Elzbieta Mekienė.
Found Footage Magazine is proud to present Found Footage & Collage Films: Selected Works, edited and introduced by César Ustarroz. For enthusiasts of avant-garde cinema, this deluxe limited edition of sixteen short films provides a vivid account of various creative processes in the recycling of images in experimental moving image art. Found Footage & Collage Films: Selected Works comes complete with a book filled with analysis and insights of the selected films.
Michael Betancourt is a Glitch Art pioneer who began manipulating digital errors in 1990. This collection surveys his HD movies. These movies have shown in film festivals, art fairs, and galleries internationally, influencing the use of glitches in popular culture (such as in the title sequence to Amazon's sci-fi program The Expanse).
Stephen Dwoskin (1939–2012) began his filmmaking career in the New York underground scene of the early 1960s, then moved to London in 1964, where he became a leading figure in avant-garde film, and was one of the founders of the London Filmmakers Co-operative (now LUX). His early works, such as Dyn Amo (1972), are synonymous with the male gaze.
Nathaniel Dorsky y Jerome Hiler se conocieron en 1964, en el estreno de la primera película de Dorsky, Ingreen. Este encuentro marcó el inicio de una vida en común, así como una serie de intensos intercambios creativos, que continúan hoy en día. Tras la primera trilogía de películas sonoras realizadas en su adolescencia, Dorsky comenzó a explorar las posibilidades del cine silente, así como la forma poética del llamado «montaje polivalente».
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