@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} } @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} }