Done with Filming is the title of a film made by Maurice Lemaître between 1985 – 1990. It is composed of a collection of slides, primarily from New Wave films, on which the artist has intervened in multiple ways: with touch-ups, smudges, and graphic and visual interventions. Simultaneously, the soundtrack consists of a fake journalistic-style interview in which Lemaître, in his characteristic manner that is both serious and humorous, gives an account of his relationship with cinema, criticism, and creation.
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Movement as Meaning in Experimental Cinema offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference.
Precio:130 USD - Hardback117 USD - Epub
Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of "Green"? How many rainbows can light create for the untutored eye? How aware of variations in heat waves can that eye be? Imagine a world alive with incomprehensible objects and shimmering with an endless variety of movement and innumerable gradations of color.
The 1970s was an enormously creative period for experimental film. Its innovations and debates have had far-reaching and long-lasting influence, with a resurgence of interest in the decade revealed by new gallery events, film screenings and social networks that recognise its achievements. Professor Laura Mulvey, and writer/director Sue Clayton, bring together journalists and scholars at the cutting edge of research into 1970s radical cinema for this collection.
Precio:Hardcover - 69 GBPPaperback - 20 GBP
Slow Writing is a collection of articles by Thom Andersen that reflect on the avant-garde, Hollywood feature films, and contemporary cinema. His critiques of artists and filmmakers as diverse as Yasujirō Ozu, Nicholas Ray, Andy Warhol, and Christian Marclay locate their work within the broader spheres of popular culture, politics, history, architecture, and the urban landscape. The city of Los Angeles and its relationship to film is a recurrent theme.
Art theory has always had a major component in writing, or the illustration of the artists’ own ideas around their trajectory and working methods. To be more specific, writing has been a way for artists to ponder on their own activity, to identify certain trends they felt close to, to articulate a reflection on a given medium and challenge preconceived ideas.
This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives.
“Approaching the Exquisite Corpus” was an alternative title we considered for this DVD release. It would have indicated how the films introduced here from my early Super 8 phase already evidence an artistically consistent path leading to my most recent production to date, The Exquisite Corpus, and highlighted my endeavor since the 1980s to make the specific qualities of the analog film medium sensuously tangible in the form of “exquisite ecstasies”.
Warsztat Formy Filmowej is a Polish-English publication edited by Marika Kuźmicz and Łukasz Ronduda.
The book is a compilation of the achievements of Warsztat Formy Filmowej, which was an avant-garde group operating at the Film School in Łódź (PWSFTviT im. L. Schillera) between 1970 and 1977.
«Me gustan las cosas que están fuera de control. En cierto punto, el artista se pondrá firme, detendrá al medio y lo domesticará, utilizándolo para cultivar los campos de su propia imaginación. Pero, por el momento, el toro corre a su antojo. (…) Las corrientes que avanzan entre nosotros y que los artistas externalizan han madurado, contienen múltiples impulsos y brotan efusivamente, de forma incontrolable y hasta ahora desconocida. Hasta los artistas de vanguardia, sentados junto al público, se sorprenden y repiten: “¿Qué demonios está pasando?”.»