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.
An archeology of Swiss experimental film A comprehensive theoretical book, "Minor Cinema: Experimental Film in Switzerland" traces the evolution of Swiss experimental film addressing the relationships between contemporary art and underground movies, formal and amateur films, video, expanded cinema, and performances, national scene and international influences, with a special focus on how art schools and festivals were decisive for its development.
What is the significance of gendered identification in relation to artists' moving image? How do women artists grapple with the interlinked narratives of gender discrimination and gender identity in their work? In this groundbreaking book, a diverse range of leading scholars, activists, archivists and artists explore the histories, practices and concerns of women making film and video across the world, from the pioneering German animator Lotte Reiniger, to the influential African American filmmaker Julie Dash and the provocative Scottish contemporary artist Rachel Maclean.
The Sublimity of Document: Cinema as Diorama is a collection of in-depth, substantive interviews with moving-image artists working "avant-doc, that is, making films that explore the territory between documentary and experimental cinema.
Transcurriendo en paralelo a las rupturas estéticas de las vanguardias artísticas de principios del siglo XX, el cine experimental investiga el potencial del medio cinematográfico a través de sus posibilidades formales y su trasfondo crítico. Estas prácticas fílmicas interrogan las imágenes y los sonidos tencológicos vindicando un espíritu autodidacta, narraciones atípicas, formulaciones abstractas y temporalidades inusitadas. Radicales libres analiza cincuenta obras fundamentales que constatan el desarrollo de la experimentación desde la década de los años 20 hasta la actualidad.
Telling Invents Told is the first collection of writings by artist and filmmaker Lis Rhodes. It includes the influential essay Whose History? alongside texts from works such as Light Reading, Pictures on Pink Paper and A Cold Draft, together with new and previously unpublished materials. Since the 1970s, Rhodes has been making radical and experimental work that challenges hegemonic narratives and the power structures of language.
