Experimental Filmmaking and the Motion Picture Camera is an introductory guide to experimental filmmaking, surveying the practical methods of experimental film production as well as the history, theory, and aesthetics of experimental approaches.
Bien que peu connu, Teo Hernández est l'un des réalisateurs mexicains les plus importants du cinéma expérimental au format Super 8, qui depuis son exil volontaire en France, s'est entièrement consacré à une pratique artistique multiforme au sein de la communauté homosexuelle et des milieux culturels alternatifs parisiens. Le livre paraît à l'occasion de l'exposition "Teo Hernández : Éclater les apparences" à la Villa Vassilieff (8 février - 27 avril 2019) et rassemble une sélection de fragments des carnets de l'artiste, disparu prématurément à Paris en 1992.
Sirio Luginbühl was an italian underground film-maker, his film production began in 1967. With friends filmmakers and artists he experimented new techniques and styles. He was also interested in art and literature and took part to various avant-gard projects. The book “Collected notes on underground cinema, art and performance- 1964-2014” is the witness of his world made of kwowledge, experiences and people, curiosity for anyone who would carry a message from the world of art.
VSW Press is pleased to announce our latest publication, Bouquets 11-20: Notebooks by Rose Lowder, an exciting new artist book featuring direct reproductions of the notebooks of experimental filmmaker Rose Lowder. Each page is an illustrated transcription of 10 seconds of 16mm film from Lowder's Bouquets series, hand-drawn in 24-frame increments by the artist after the film has been shot.
Il s'agit de l'étude la plus complète à ce jour des relations entre peinture et cinéma dans les années 1920. Des artistes et poètes (Duchamp, Man Ray, Picabia, Malévitch, Léger, Artaud, Moholy-Nagy, Ruttmann, Desnos...) font du cinéma un chantier d'expériences. Le cinéma se fait ainsi cubiste, dadaïste, abstrait, constructiviste, surréaliste... Les notions d'avant-garde, d'expérience et d'expérimentation se trouvent donc revisitées.
Patrick de Haas a enseigné l'histoire de l'art à l'Université Paris-1 (Panthéon-Sorbonne)
Throughout his six-decade career, Tony Conrad (1940–2016) forged a unique path through numerous artistic movements and a vast range of cultural forms—from Fluxus to rock music, from structural film to public access television. Published on the occasion of the first large-scale museum survey devoted to works Conrad presented in museum and gallery settings, this richly illustrated catalogue offers an in-depth introduction to Conrad's life and career.
Part cinematic manifesto, part invoked sorcery, SOLARES serves as volcanic manifestation of what viewing, inhabiting, and reflecting images is in our existence. Meant to accompany their masterpiece The Sun Quartet, SOLARES stands as a beautiful testament to the power of poetry and its relationship to cinema and life
Pionnière du cinéma, Germaine Dulac (1882-1942) est une des grandes figures de l'Avant-Garde française des Années 20. Personnalité importante, elle initiera et sera à la tête de nombreuses organisations et, parallèlement, mènera une activité inlassable pour la défense des droits des femmes.
Dans ses réalisations, Dulac expérimente les nouvelles possibilités d'expression du cinéma. Elle réalisera une vingtaine de films à partir de 1916. La Souriante Mme Beudet (1923) et La Coquille et le clergyman (1927), d'après Antonin Artaud, sont parmi ses films marquants.
Storm De Hirsch began publishing poetry and art criticism in American little magazines in the 1950s. Her work arrived in the vacuum of American postwar poetry and with no clear affiliation. It was on the periphery of the east coast Beat movement, engaging punctuative declarations, onomatopoeia, chorus repetitions and sensual, ornithological and Cabalistic imagery. De Hirsch’s poems are shamanistic, bearing properties of the magic ritual and incantation, and her mysticism as well as her passions for new forms led her in the visionary direction of the New American Cinema.
Narrative comprehension, memory, motion, depth perception, synesthesia, hallucination, and dreaming have long been objects of fascination for cognitive psychologists. They have also been among the most potent sources of creative inspiration for experimental filmmakers. Lessons in Perception melds film theory and cognitive science in a stimulating investigation of the work of iconic experimental artists such as Stan Brakhage, Robert Breer, Maya Deren, and Jordan Belson.
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