@article {expcin15987, title = {Expanded Cinema 2. Immersions: Towards the Tactile Cinema / Расширенное кино 2}, year = {2012}, pages = {148 pp}, publisher = {MediaArtLab}, address = {Moscow}, abstract = {

Published by MediaArtLab Centre for Art and Culture for the exhibition "The Immersions. Towards the Tactile Cinema", Ekaterina Cultural Foundation, Moscow, June, 23 {\textemdash} August, 19 2012
Curated by Olga Shishko

}, keywords = {Expanded cinema, Olga Shishko}, url = {http://web.archive.org/web/20130820201602/http://www.mediaartlab.ru/books/mf2012_web.pdf}, author = {Alina Streltsova and Olga Shishko and Chris Hales and Roman Putyatin and Pia Tikka and VALIE EXPORT and Kent Long and Piotr Krajewski and Tom Kohut} } @article {expcin15988, title = {Lo sguardo espanso. Cinema d{\textquoteright}artista italiano 1912-2012}, year = {2012}, pages = {312 pp}, publisher = {Silvana Editoriale}, address = {Milan}, keywords = {Alessandro Mendini, Andrea Granchi, Angela Ricci Lucchi, Anton Giulio Bragaglia, Arcangelo Mazzoleni, Arnaldo Ginna, Bruno Munari, Carmelo Bene, Chiara Dynys, Cionicarpi, Claudio Cintoli, Daniele Puppi, Davide Mosconi, Elisabetta Benassi, Enrico Prampolini, Fabio Mauri, Fernando DeFilippi, Flatform, Fortunato Depero, Francesco Di Cocco, Franco Angeli, Gian, Gianfranco Baruchello, Gianinie Luzzati, Gianni Pettena, Giosetta Fioroni, Gruppo 70, Leonardo Carrano, Luca M. Patella, Magdalo Mussio, Marcello Piccardo, Mario Ceroli, Mario Ferrero, Mario Schifano, Michele Sambin, Mimmo Paladino, Mimmo Rotella, Nato Frasca, Paola Salerno, Paolo Gioli, Pino Pascali, Pippo Oriani, Plinio Martelli, Ra Di Martino, Roberto Lucca Taroni, Rosa Barba, Rosa Foschi, Salvatore Brancato, Silvio Loffredo, Studio Azzurro, Sylvano Bussotti, Thorsten Kirchhoff, Ugo La Pietra, Ugo Nespolo, Umberto Bignardi, Ursula Ferrara, Valentina Berardinone, Valerlo Adami, Virgilio Marchi, Vittorio Loffredo, Yervant Gianikian}, isbn = {9788836625468}, author = {Bruno Di Marino and Marco Meneguzzo and Andrea La Porta and Gina Annunziata and Rinaldo Censi and Antonio Costa and Giacomo Daniele Fragapane and Annamaria Licciardello and Sandra Lischi and Dacia Palmerino and Lisa Parolo and Andrea Piccardo and Giacomo Ravesi and Marco Senaldi} } @article {expcin15989, title = {You Killed Me First: The Cinema of Transgression}, year = {2012}, pages = {175 pp}, publisher = {KW Institute of Contemporary Art/Walther Konig}, address = {Berlin}, abstract = {

Basically, in one sentence, give us the definition of the {\textquoteleft}Cinema of Transgression{\textquoteright}.{\textquotedblright} Nick Zedd: {\textquotedblleft}Fuck you.{\textquotedblright}

Nightmarish scenarios of violence, dramatic states of mind, and perverse sexual abysses {\textendash} the films of the Cinema of Transgression that were consciously aimed at shock, provocation, and confrontation, bear witness to an extraordinary radicality. In the 1980s a group of filmmakers from the Lower East Side in New York went on a collision course with the conventions of American society. Transcending all moral or aesthetic boundaries, the low budget films reveal social hardship met with sociopolitical indifference. Sometimes shot with stolen camera equipment, the films contain strident analyses of life in the Lower East Side defined by criminality, brutality, drugs, AIDS, sex, and excess.\ 

Published to accompany the exhibition You Killed Me First held at KW Institute of Contemporary Art, Berlin, 19th Feb.-9th Apr., 2012.

}, keywords = {Casandra Stark, Cinema of Transgression, David Wojnarowicz, Karen Finley, Kembra Pfahler, Lung Leg, Lydia Lunch, Nick Zedd, Richard Kern, Tessa Hughes-Freeland, Tommy Turner}, isbn = {9783863351571}, url = {http://monoskop.org/log/?p=9962}, author = {Susanne Pfeffer and Sylv{\`e}re Lotringer and Carlo McCormick and Jonas Mekas and Jack Sargeant and Nick Zedd} } @article {expcin15986, title = {Expanded Cinema / Расширенное кино}, year = {2011}, pages = {135 pp}, publisher = {MediaArtLab}, address = {Moscow}, keywords = {Expanded cinema, Olga Shishko}, isbn = {978-5-905110-07-8}, url = {http://web.archive.org/web/20120611230327/http://www.mediaartlab.ru/books/Exp_Cin_2011.pdf}, author = {Alina Ignatova and Olga Shishko and Ursula Frohne and Lev Manovich and Arthur Kroker and Marilouise Kroker and Trond Lundemo and Raymond Bellour and Olesya Turkina and {\'E}rik Bullot and Peter Weibel and Kirill Razlogov} } @article {expcin15984, title = {As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s}, year = {2010}, pages = {259 pp}, publisher = {Museum of Modern Art Warsaw}, address = {Warsaw}, abstract = {

In the late 1960s and {\textquoteright}70s, artists in Yugoslavia rejected the official language of expression licensed by the regime, abstract art, and replaced it with "anti-art". This book explores this crucial period in the Yugoslav art scene and situates it in the broader cultural context of Central and Eastern Europe. The book follows the show "As Soon As I Open My Eyes I See a Film. Experiment in the Art of Yugoslavia in the 1960s and 1970s", Museum of Modern Art in Warsaw, April 24-June 22 2008.

}, keywords = {Antifilm, Yugoslavian Cinema}, isbn = {9788392404439}, author = {Ana Janevski and Stevan Vukovi{\'c} and {\L}ukasz Ronduda and Goran Trbuljak and Hrvoje Turkovi{\'c} and Mihovil Pansini and Slobodan {\v S}ijan and {\v Z}elimir {\v Z}ilnik and Branko Vu{\v c}i{\v c}evi{\'c} and P.Adams Sitney} } @article {expcin15985, title = {This Is All Film: Experimental Film in Yugoslavia 1951-1991 / Vse to je film: Eksperimentalni film v Jugoslaviji 1951-1991}, year = {2010}, pages = {154 pp}, publisher = {Museum of Modern Art Ljubljana}, address = {Ljubljana}, abstract = {

On the occasion of the exhibtion at the Moderna galerija, Museum of Modern Art, Ljubljana, 22. 12. 2010-28. 2. 2011

}, keywords = {Yugoslavian Cinema}, isbn = {9789612060909}, author = {Bojana Pi{\v s}kur and Tamara Soban and Ana Janevski and Jurij Meden and Miha Pe{\v c}e and Stevan Vukovi{\'c}} } @article {expcin15981, title = {Zelluloid: Film ohne Kamera = cameraless film}, year = {2010}, pages = {190 pp}, publisher = {Schirn Kunsthalle}, address = {Frankfurt}, abstract = {

"Zelluloid" is dedicated to a particular genre of artistic film, in which the image is generated directly, by physically processing the film strip. Unlike other forms of experimental film, the film material is interpreted as if it were a canvas by using a diverse range of artistic processes: through painting, drawing, collage on the celluloid, scores and scratches in the photographic emulsion, chemical manipulation or the direct lighting of photo-sensitive media. Such were the origins of the cinematic avant-garde, which researches even the material nature of the medium of film and at the same time sounds out its relationship with the visual arts and also with music in ever-changing approaches. The exhibition catalogue contains outstanding examples of "films without a camera" and features approximately 20 international artists and filmmakers from the 1930s to the present day.

Exhibition: Schirn Kunsthalle, Frankfurt (2.06 - 29.08.2010).

Artists featured in the exhibiton: Stan Brakhage, Tony Conrad, Cécile Fontaine, Amy Granat, Ian Helliwell, Hy Hirsh, Takahiko Iimura, Emmanuel Lefrant, Len Lye, Norman McLaren, Bärbel Neubauer, Luis Recoder, Jennifer Reeves, Dieter Roth, Pierre Rovère, Schmelzdahin, José Antonio Sistiaga, Harry Smith, Aldo Tambellini, Marcelle Thirache, Jennifer West.

}, keywords = {Aldo Tambellini, Amy Granat, Bärbel Neubauer, cameraless film, Cécile Fontaine, Dieter Roth, Emmanuel Lefrant, Harry Smith, Hy Hirsh, Ian Helliwell, Jennifer Reeves, Jennifer West, Jos{\'e} Antonio Sistiaga, Len Lye, Luis Recoder, Marcelle Thirache, Norman McLaren, Pierre Rovère, Schmelzdahin, Stan Brakhage, Takahiko Iimura, Tony Conrad}, isbn = {9783866783959}, url = {https://monoskop.org/images/d/dd/Schlicht_Esther_Hollein_Max_eds_Zelluloid_Camera_Less_Film_Film_ohne_Kamera.pdf}, author = {Esther Schlicht and Max Hollein} } @book {expcin15997, title = {Experimental Film and Video: An Anthology}, year = {2006}, pages = {302 pp}, publisher = {John Libbey Publishing}, organization = {John Libbey Publishing}, address = {Eastleigh}, abstract = {

The past 40 years of technological innovation have significantly altered the materials of production and revolutionized the possibilities for experiment and exhibition. Not since the invention of film has there been such a critical period of major change in the imaging technologies accessible to artists. Bringing together key artists in film, video, and digital media, the anthology of Experimental Film and Video revisits the divergent philosophical and critical discourses of the 1970s and repositions these debates relative to contemporary practice. Forty artists have contributed images, and 25 artists reflect on the diverse critical agendas, contexts, and communities that have affected their practice across the period from the late 1960s to date. Along with an introduction by Jackie Hatfield and forewords by Sean Cubitt and Al Rees, this illustrated anthology includes interviews and recent essays by filmmakers, video artists, and pioneers of interactive cinema. Experimental Film and Video opens up the conceptual avenues for future practice and related critical writing.

}, keywords = {Andrew K{\~o}tting, Anthony McCall, Brad Butler, Catherine Elwes, Chantal Akerman, Chris Meigh-Andrews, Chris Welsby, Daniel Reeves, David Critchley, David Hall, David Larcher, George Barber, Grahame Weinbren, Guy Sherwin, Jackie Hatfield, Jayne Parker, Jeremy Welsh, Jo Ann Millet, John Smith, Karen Mirza, Katherine Meynell, Kayla Parker, Lis Rhodes, Malcolm Le Grice, Mike Leggett, Nicky Hamlyn, Nina Danino, Peter Gidal, Rob Gawthrop, Sarah Pucill, Stephen Hawley, Stephen Littman, Stephen Partridge, Tamara Krikorian, texts by artists, Tina Keane, Tony Sinden, Vicky Smith, William Raban}, isbn = {978-0-86196-906-7}, author = {Susanna Poole and Gareth Evans and Stephen Littman and Grahame Weinbren and Peter Gidal and Chris Welsby and Nicky Hamlyn and Jayne Parker and Rob Gawthrop and Anthony McCall and Lis Rhodes and Sarah Pucill and Nina Danino and Katherine Meynell and David Critchley and Chris Meigh-Andrews and Andrew K{\~o}tting and Daniel Reeves and Vicky Smith and Karen Mirza and Brad Butler and Stephen Partridge and Catherine Elwes and Malcolm Le Grice and Mike Leggett}, editor = {Jackie Hatfield} } @article {expcin15979, title = {Placing spaces, spacing places : Canadian experimental films \& videos since 1990}, year = {2003}, pages = {35 pp}, publisher = {Mount Saint Vincent University Art Gallery}, address = {Halifax}, abstract = {

Contents:

}, keywords = {Canadian Cinema}, isbn = {9781894518161}, author = {Gerda Cammaer and Paulette Phillips and Dennis Day and Manon Labreque and Daniel Cockburn and Gunilla Josephson and Ian Toews and Paul Landon and Michael Yaroshevsky and Barbara Sternberg and Jean Th{\'e}berge and Jason Britski and Phillip Hoffman and Michael Crocheti{\`e}re and Emanuel Avenel and Marie-France Giraudon and Nelson Henricks and Kika Thorne and John Price and Benny Nemerofsky Ramsay and Serge Cardinal and Nikki Forrest} } @book {expcin15994, title = {Experimental Cinema: The Film Reader}, year = {2002}, pages = {356 pp}, publisher = {Routledge}, organization = {Routledge}, address = {New York/London}, abstract = {

Brings together key writings on American avant-garde cinema to explore the long tradition of underground filmmaking from its origins in the 1920s to the work of contemporary film and video artists.

}, keywords = {Agn{\`e}s Varda, Andy Warhol, Barbara Hammer, Black cinema, Carolee Schneemann, Chantal Akerman, Female cinema, Gay cinema, Germaine Dulac, Hollis Frampton, Jack Smith, Kenneth Anger, Maya Deren, Michael Snow, Stan Brakhage, Su Friedrich, Trinh T. Minh-ha, Warren Sonbert, Yoko Ono}, isbn = {9780415277877}, author = {Jan-Christopher Horak and Jonas Mekas and Lauren Rabinovitz and Agn{\`e}s Varda and Juan Antonio Su{\'a}rez and Suranjan Ganguly and Jerry Tartaglia and Kate Haug and Reva Wolf and Daryl Chin and Yoko Ono and P.Adams Sitney and Scott MacDonald and Philip Lopate and David Ehrenstein and Peter Gidal and Chris Holmlund and Gloria J. Gibson and Kobena Mercer}, editor = {Wheeler Winston-Dixon and Gwendolyn Audrey Foster} } @book {expcin16095, title = {Le cin{\'e}ma visionnaire: L{\textquoteright}Avant-garde am{\'e}ricaine (1943-2000)}, year = {2002}, pages = {440 pp}, publisher = {Paris Expérimental}, organization = {Paris Expérimental}, address = {Paris}, abstract = {

French translation of the 3rd edition of Visionary Film

Traduit de l{\textquoteright}anglais par Pip Chodorov et Christian Lebrat, avec la collaboration de Vincent Deville et Chloé Donati.

}, keywords = {American Cinema, Christopher MacLaine, Gregory Markopoulos, Jordan Belson, Kenneth Anger, Maya Deren, Michael Snow, Robert Breer, Sidney Peterson, Stan Brakhage}, isbn = {9782912539083}, author = {P.Adams Sitney} } @article {expcin15974, title = {Independent America: New Film 1978-1988}, year = {1988}, pages = {93 pp}, publisher = {American Museum of the Moving Image}, address = {New York}, abstract = {

Catalogue for the film retrospective at the American Museum of the Moving Image, October 7-November 11, 1988

}, keywords = {American Cinema, Museum of the Moving Image}, author = {David Schwartz and Jonathan Rosenbaum and Steve Anker and Berenice Reynaud and David Schwartz} } @book {expcin15992, title = {Teorija {\v c}eske avangarde 1908-1937}, year = {1987}, pages = {86 pp}, publisher = {Institut za film}, organization = {Institut za film}, address = {Belgrade}, abstract = {

Anthology of Czech texts about avant-garde film.

}, keywords = {Czech Cinema}, url = {https://monoskop.org/images/8/82/Andjel_Stanivuk_ur_Teorija_ceske_avangarde_1908-1937.pdf}, author = {Jaroslav Andjel and Vaclav Tile and Karel Capek and Jo{\v z}ef Capek and Franti{\v s}ek Langer and Jan Mukar{\v z}ovski and Roman Jakobson and Milo{\v s} Vajngart and Emil Franti{\v s}ek Burijan and Vladislav Vancura and Jind{\v z}ih Honzl}, editor = {Jaroslav Andjel and Ljubica Stanivuk} } @article {expcin16103, title = {Andere Avant Garde: Brucknerhaus Linz, Festival 16.9.-20.9.1983, Ausstellung 16.9.-7.10.1983}, year = {1983}, pages = {181 pp}, publisher = {Druck- und Verlagsanstalt Gutenberg}, address = {Linz}, url = {http://kok.memoryoftheworld.org/$\#$text=Avangardni+film\&property=title\&librarian=Kenneth+Jungius}, author = {Claudia Preschl and Andrea Stadlmayr and Sabrina Unger} } @book {expcin15991, title = {The Avant-garde Film: A Reader of Theory and Criticism}, series = { Anthology film archives}, number = {3}, year = {1978}, pages = {295 pp}, publisher = {New York University Press}, organization = {New York University Press}, address = {New York}, abstract = {

This anthology is both a history of the avant-garde film genre and a compendium of theories of cinema articulated by major filmmakers. The 33 selections include several previously unpublished theoretical and critical articles and many articles that were especially translated into English for this collection. Other selections were drawn from interviews and from lectures contained in the Anthology Film Archives.

}, keywords = {Andy Warhol, Anthony McCall, Antonin Artaud, Ernie Gehr, Germaine Dulac, Hans Richter, Harry Smith, Hollis Frampton, James Broughton, James Whitney, Jean Epstein, John Whitney, Jonas Mekas, Joseph Cornell, Maya Deren, Michael Snow, Paul Sharits, Peter Kubelka, Sergei Eisenstein, Sidney Peterson, Stan Brakhage, Tony Conrad}, isbn = {9780814777930}, author = {P.Adams Sitney and Sergei Eisenstein and Hans Richter and Jean Epstein and Germaine Dulac and Antonin Artaud and Joseph Cornell and Maya Deren and Sidney Peterson and James Broughton and John Whitney and James Whitney and Harry Smith and Carel Rowe and Stan Brakhage and Peter Kubelka and Stephen Koch and Annette Michelson and Michael Snow and Jonas Mekas and Ernie Gehr and Anthony McCall and Paul Sharits and Tony Conrad and Hollis Frampton} } @book {expcin15990, title = {Structural Film Anthology}, year = {1976}, pages = {144 pp}, publisher = {British Film Institute}, organization = {British Film Institute}, address = {London}, abstract = {

{\textquotedblleft}This anthology of texts about what have been termed Structural Films attempts to bring together some of the more important essays and articles on those films which have formed the core of film work in this field since its inception. It is a first attempt to bring together texts from Europe, Britain and the United States. In the past we have been inundated with the parochial, American view of avant-garde film work, as expounded on both sides of the Atlantic. This anthology was published to coincide with the series of eighteen programmes, Structural Film Retrospective, at the National Film Theatre, London, in May 1976.

As it happened, no film-maker was included in the programmes who had not produced relevant work before 1971, though many works were from after that year. No new films were introduced; this was a retrospective programme intended to enable a viewing that saw each film in the context of each other film, that could recognise alliances and misalliances between films, that could attempt to deal with the individual filmworks and the critical practice which preceded or followed.

In some cases, the critical practice here is a virtually complete repression through ideology of the text of the film; in the gaps presented work can now take place. The lengths of the sections are dictated by the materials of interest available, and unfortunately in a few cases only very slight material existed. I hope that the selection will not offend; the younger Americans have been left out, as have many of the younger British, because of the wish for a solid retrospective programme as elucidated above. No doubt there are quite a few film-makers completely unknown to me, and to nearly everyone else, who have done and may be doing very important work, and whose work remains {\textquoteleft}out of view{\textquoteright} for a variety of sociological reasons, none of which are praiseworthy. I wish to thank all the film-makers and writers, obviously.

For this reprint nothing has been changed, though a few minor errors have been corrected and Ben Brewster{\textquoteright}s review of the Anthology inScreen has been included as an afterward. I call attention to the {\textquoteleft}Theory and Definition of Structural/Materialist Film{\textquoteright} article in its original form in Studio International (November 1975), and to Deke Dusinberre{\textquoteright}s article relating to it in Screen (Summer 1977). P.G., January 1978" (Introduction)

}, keywords = {Birgit Hein, David Crosswaite, Fred Drummond, George Landow, Gill Eatherley, Hollis Frampton, John Du Cane, Joyce Wieland, Ken Jacobs, Kurt Kren, Malcolm Le Grice, materialist film, Michael Snow, Mike Dunford, Mike Leggett, Paul Sharits, Peter Gidal, Peter Kubelka, Roger Hammond, structural film, Tony Conrad, Wilhelm Hein, William Raban}, isbn = {9780851700533}, url = {http://monoskop.org/log/?p=2612}, author = {Peter Gidal and Malcolm Le Grice and Michael Snow and Hollis Frampton and Mike Dunford and Paul Sharits and Jonas Mekas and Birgit Hein and Gill Eatherley and George Landow and Fred Camper and William Raban and Fred Drummond and David Curtis and Ben Brewster and John Du Cane and Regina Cornwell and Gordon Gow and Simon Hartog and Annette Michelson and Lois Mendelson and Verina Glaessner} } @book {expcin16086, title = {The Essential Cinema: Essays on the Films in the Collection of Anthology Film Archives}, series = {Anthology Film Archives series}, volume = {2}, year = {1975}, pages = {380 pp}, publisher = {Anthology Film Archives}, organization = {Anthology Film Archives}, address = {New York}, abstract = {

Essays by filmmakers and scholars of the avant-garde, written with a wide range of approaches ranging from the theoretical to the purely personal, intended to reinforce appreciation of the films chosen by the archive for inclusion in its Essential Cinema Collection.

}, isbn = {9780814777671}, editor = {P.Adams Sitney} } @book {expcin16081, title = {Eine Subgeschichte des Films. Lexikon des Avantgarde-, Experimental- und Undergroundfilms}, year = {1974}, pages = {1315 pp}, publisher = {Edition Suhrkamp}, organization = {Edition Suhrkamp}, address = {Frankurt am Main}, isbn = {9783518004715}, author = {Hans Scheugl and Ernst Schmidt jr.} } @book {expcin16094, title = {Visionary Film: The American Avant-Garde}, year = {1974}, pages = {479 pp}, publisher = {Oxford University Press}, organization = {Oxford University Press}, address = {New York}, keywords = {American Cinema, Christopher MacLaine, Gregory Markopoulos, Jordan Belson, Kenneth Anger, Maya Deren, Michael Snow, Robert Breer, Sidney Peterson, Stan Brakhage}, isbn = {0-19-501761-7}, url = {https://archive.org/details/Visionary_Film_The_American_AvantGarde}, author = {P.Adams Sitney} } @article {expcin16010, title = {Film Culture 30: Metaphors on Vision}, year = {1963}, abstract = {

{\textquotedblleft}Metaphors on Vision is a collection of writings on the film and, in particular, on the film as Stan Brakhage sees and makes it. Yet more significantly it is a testament of what makes mythopoeic art. Mythopoeia is the often attempted and seldom achieved result of making a myth new or making a new myth.{\textquotedblright} (from the Introduction)

Edited with an Introduction by P. Adams Sitney
Book design by George Maciunas

}, keywords = {Jane Brakhage, Stan Brakhage}, url = {https://monoskop.org/log/?p=7736}, author = {Stan Brakhage and Jane Brakhage and P.Adams Sitney} } @conference {expcin16008, title = {Art in Cinema: A Symposium on the Avantgarde Film Together with Program Notes and References for Series one of Art in Cinema}, booktitle = {Art in cinema}, year = {1947}, note = {

Facsimile reedition Arno Press, 1968

}, pages = {104 pp}, publisher = {Art in Cinema Society}, organization = {Art in Cinema Society}, address = {San Francisco, San Francisco Museum of Art}, keywords = {San Francisco Museum of Art}, author = {Frank Stauffacher} }