This posthumous collection of writings illuminates Cocteau's own work for the cinema with detailed discussions of his aims, responses to criticism and his reflections on the relationship between poetry, theatre and film. He also comments on the movie stars he admires - Marlene Dietrich, James Dean, Brigitte Bardot - together with such great directors as Charlie Chaplin and Orson Welles.
As Jacques Derrida wrote in 1995, while considering Archive Fever, nothing is less reliable or less clear today than the word “archive”. Nevertheless, the historic-cultural dimension of the contemporary discursive practices in cinema and art develops in the semantic openendedness of the term, in the repositioning of the idea of archive.The individual disciplines involved in one such field – history of cinema and art, theory of cinema and art, aesthetics, semiotics, philology, etc. – begin to open up to questioning the notion of archive even ‘in negative’: in other words what – after Michel Foucault – the “archive” is not, or does not seem to be. The “archive” is not the ‘library of libraries’ or ‘encyclopedia’, it is not ‘memory’, it is not museum, it is not a ‘database’.In recent years, the attention focused on such ideas has not so much highlighted the ‘impulses’, ‘turns’ and specific forms of art (“art archive”) as it has revealed in many ways how the “archive” concerns us in the interrelation of aesthetic, political, ethical and legal levels among various disciplinary fields.
Presents the history of black-cast films through their posters, covering the years from 1915 to 1965 with two hundred full-color reproductions and a brief text that places the films in a social and cultural context. Simultaneous.
Tucked away in a garden on the edge of Paris is a multimedia archive like no other: Albert Kahn's Archives de la Planète (1908-1931). Kahn's vast photo-cinematographic experiment preserved world memory through the privileged lens of everyday life, and Counter-Archive situates this project in its biographic, intellectual, and cinematic contexts. Tracing the archive's key influences, such as the philosopher Henri Bergson, the geographer Jean Brunhes, and the biologist Jean Comandon, Paula Amad maps an alternative landscape of French cultural modernity in which vitalist philosophy cross-pollinated with early film theory, documentary film with the avant-garde, cinematic models of temporality with the early Annales school of history, and film's appropriation of the planet with human geography and colonial ideology. At the heart of the book is an insightful meditation upon the transformed concept of the archive in the age of cinema and an innovative argument about film's counter-archival challenge to history. The first comprehensive study of Kahn's films, Counter-Archive also offers a vital historical perspective on debates involving archives, media, and memory.
Edited by ?ukasz Ronduda and Florian Zeyfang, 1,2,3? Avant-Gardes includes texts by David Crowley, Steven Ball and David Curtis, Anselm Franke, Leire Vergara, Jan Verwoert, Axel John Wieder and Micha? Wolinski. Artist pages by Pawe? Althamer and Artur ?mijewski, Bernadette Corporation, Matthew Buckingham, Judith Hopf and Katrin Pesch, Igor Krenz, Jonathan Monk, Jeroen de Rijke and Willem de Rooij, and Wilhelm Sasnal complete this compendium as a contribution toward an extended examination of the history and practice of experimental filmmaking and art.Artists: Akademia Ruchu, Antosz & Andzia, Pawe? Althamer/Artur ?mijewski, Piotr Andrejew, Bernadette Corporation, Kazimierz Bendkowski, Matthew Buckingham, Bogdan Dziworski, Marcin Gi'ycki, Janusz Haka, Oskar Hansen, Judith Hopf / Katrin Pesch, Tadeusz Junak, Jacques de Koning, Igor Krenz, Grzegorz Krolikiewicz, Zo'a Kulik, Pawe? Kwiek, Przemys'aw Kwiek, Natalia LL, Jolanta Marcolla, Jonathan Monk, Ewa Partum, Andrzej Paw'owski, Zygmunt Piotrowski, Jeroen de Rijke/Willem de Rooij, Jozef Robakowski, Zbigniew Rybczy'ski, Zygmunt Rytka, Wilhelm Sasnal, Jadwiga Singer, Zdzis'aw Sosnowski, Mieczys'aw Szczuka , Micha? Tarkowski, Stefan & Franciszka Themerson, Teresa Tyszkiewicz, Ryszard Wa'ko, Jan S. Wojciechowski, Krzysztof Zar'bski, Florian Zeyfang
In 1935, the foundation of the Film Library of the Museum of Modern Art in New York marked the transformation of the film medium from a passing amusement to an enduring art form. Haidee Wasson maps the work of the MoMA film library as it pioneered the preservation of film & promoted the concept of art cinema.
