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Avant Garde Film
This volume on avant-garde film has emerged as part of a wider reassessment of 20th century avant-garde art, literature and film carried out in the framework of a research project at the University of Edinburgh. It paves the way for a fresh assessment of avant-garde film and develops its theory as an integral part of a newly defined conception of the avant-garde as a whole, by closing the gap between theoretical approaches towards the avant-garde as defined on the basis of art and literature on the one hand and avant-garde cinema on the other. It gathers contributions by the most esteemed scholars in the field of avant-garde studies relating to the ¿classical¿ avant-garde cinema of the 192...
Theorizing Film Through Contemporary Art
As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space. How to read these reformulations of the cinematic medium - and their critique of what it is and has been? In Theorizing Cinema Through Contemporary Art: Expanding Cinema, leading film theorists consider artworks that incorporate, restage, and re-present cinema's configuration of the key categories of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, so interrogating the creation, appraisal, and evolution of film theory as channeled through contemporary art. This book takes film theory as a blueprint for the moving image, and juxtaposes it with artworks that render cinema as a material object. In the process, it unfolds a complex relationship between a theory and a practice that have commonly been seen as virtually incompatible, renewing our understanding of each and, more to the point, their interactions.
A History of 1970s Experimental Film
This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking, acting as a form of reclamation for films and filmmakers marginalized within established histories. An indispensable book for practitioners, historians and critics alike, it provides new interpretations of this rich and diverse history.
Ex-Cinema
What does it mean for film and video to be experimental? In this collection of essays framed by the concept "ex-"—meaning from, outside, and no longer—Akira Mizuta Lippit explores the aesthetic, technical, and theoretical reverberations of avant-garde film and video. Ex-Cinema is a sustained reflection on the ways in which experimental media artists move outside the conventions of mainstream cinema and initiate a dialogue on the meaning of cinema itself.
Black Screens, White Frames
Black Screens, White Frames offers a new understanding of blank screens in cinema. Drawing on Gilles Deleuze's film philosophy and pursuing an affirmative approach to non-images through the concept of the filmmaking machine, author Tanya Shilina-Conte shows how absence can be a productive mode that alters the way we study film.
Motion(less) Pictures
Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol's Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature. Analyzing four categories of static film--furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis...
