Visions of Avant-Garde Film
Visions of Avant-Garde Film

Author: Kamila Kuc

Publisher: Indiana University Press

Published: 2016-12-12

Total Pages: 249

ISBN-13: 0253024056

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Warsaw- and London-based filmmakers Franciszka and Stefan Themerson are often recognized internationally as pioneers of the 1930s Polish avant-garde. Yet, from the turn of the century to the end of the 1920s, Poland's literary and art scenes were also producing a rich array of criticism and early experiments with the moving image that set the stage for later developments in the avant-garde. In this comprehensive and accessible study, Kamila Kuc draws on myriad undiscovered archival sources to tell the history of early Polish avant-garde movements—Symbolism, Expressionism, Futurism, and Constructivism—and to reveal their impact on later practices in art cinema.

Dreams of Chaos, Visions of Order
Dreams of Chaos, Visions of Order

Author: James Peterson

Publisher: Wayne State University Press

Published: 1994

Total Pages: 232

ISBN-13: 9780814324578

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Addresses the question of how--and to what extent--viewers can make sense of American avant-garde films. Peterson examines the implicit assumptions of other scholars, advocates an alternative to dominant approaches to the avant-garde cinema, and questions some long-standing cliches about the history of the avant garde. Includes numerous (but tiny) photographs. Paper edition (unseen), $19.95. Annotation copyright by Book News, Inc., Portland, OR

Avant-garde Film
Avant-garde Film

Author: Michael O'Pray

Publisher: Wallflower Press

Published: 2003

Total Pages: 150

ISBN-13: 9781903364567

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Annotation Few aspects of American military history have been as vigorously debated as Harry Truman's decision to use atomic bombs against Japan. In this carefully crafted volume, Michael Kort describes the wartime circumstances and thinking that form the context for the decision to use these weapons, surveys the major debates related to that decision, and provides a comprehensive collection of key primary source documents that illuminate the behavior of the United States and Japan during the closing days of World War II. Kort opens with a summary of the debate over Hiroshima as it has evolved since 1945. He then provides a historical overview of thye events in question, beginning with the decision and program to build the atomic bomb. Detailing the sequence of events leading to Japan's surrender, he revisits the decisive battles of the Pacific War and the motivations of American and Japanese leaders. Finally, Kort examines ten key issues in the discussion of Hiroshima and guides readers to relevant primary source documents, scholarly books, and articles.

Eyes Upside Down
Eyes Upside Down

Author: P. Adams Sitney

Publisher: OUP USA

Published: 2008-04-17

Total Pages: 432

ISBN-13: 0195331141

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P. Adams Sitney, the leading critic of personal and experimental cinema in America, picks up where he left off in his landmark book, Visionary Film. This all new work offers in-depth analysis of eleven central filmmakers of the American avant-garde cinema, drawing on the aesthetic articulated by Emerson and theorized by John Cage, Charles Olson, and Gertrude Stein.

Lessons in Perception
Lessons in Perception

Author: Paul Taberham

Publisher: Berghahn Books

Published: 2018-06-19

Total Pages: 226

ISBN-13: 1785339028

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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. In illustrating how avant-garde filmmakers draw from their own mental and perceptual capacities, author Paul Taberham offers a compelling account of how their works expand the spectator’s range of aesthetic sensitivities and open creative vistas uncharted by commercial cinema.

Light Moving in Time
Light Moving in Time

Author: William Charles Wees

Publisher:

Published: 1992

Total Pages: 199

ISBN-13: 9780520073685

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To view a film is to see another's seeing mediated by the technology and techniques of the camera. By manipulating the cinematic apparatus in unorthodox ways, avant-garde filmmakers challenge the standardized versions of seeing perpetuated by the dominant film industry and generate ways of seeing that are truer to actual human vision. Beginning with the proposition that the images of cinema and vision derive from the same basic elements--light, movement, and time--Wees argues that cinematic apparatus and human visual apparatus have significant properties in common. For that reason they can be brought into a dynamic, creative relationship which the author calls the dialectic of eye and camera. The consequences of this relationship are what Wees explores. Although previous studies have recognized the visual bias of avant-garde film, this is the first to place the visual aesthetics of avant-garde film in a long-standing, multidisciplinary discourse on vision, visuality, and art. To view a film is to see another's seeing mediated by the technology and techniques of the camera. By manipulating the cinematic apparatus in unorthodox ways, avant-garde filmmakers challenge the standardized versions of seeing perpetuated by the dominant film industry and generate ways of seeing that are truer to actual human vision. Beginning with the proposition that the images of cinema and vision derive from the same basic elements--light, movement, and time--Wees argues that cinematic apparatus and human visual apparatus have significant properties in common. For that reason they can be brought into a dynamic, creative relationship which the author calls the dialectic of eye and camera. The consequences of this relationship are what Wees explores. Although previous studies have recognized the visual bias of avant-garde film, this is the first to place the visual aesthetics of avant-garde film in a long-standing, multidisciplinary discourse on vision, visuality, and art.

A Dictionary of Film Studies
A Dictionary of Film Studies

Author: Annette Kuhn

Publisher: OUP Oxford

Published: 2012-06-21

Total Pages: 530

ISBN-13: 0191034657

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Written by experts in the field, this dictionary covers all aspects of film studies, including terms, concepts, debates, and movements in film theory and criticism, national, international and transnational cinemas, film history, film movements and genres, film industry organizations and practices, and key technical terms and concepts in 500 detailed entries. Most entries also feature recommendations for further reading and a large number also have web links. The web links are listed and regularly updated on a companion website that complements the printed book. The dictionary is international in its approach, covering national cinemas, genres, and film movements from around the world such as the Nouvelle Vague, Latin American cinema, the Latsploitation film, Bollywood, Yiddish cinema, the spaghetti western, and World cinema. The most up-to-date dictionary of its kind available, this is a must-have for all students of film studies and ancillary subjects, as well as an informative read for cinephiles and for anyone with an interest in films and film criticism.

Avant-Garde Film
Avant-Garde Film

Author: Michael O'Pray

Publisher: Columbia University Press

Published: 2003-09-17

Total Pages: 145

ISBN-13: 023185000X

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Avant-Garde Film: Forms, Themes and Passions examines the variety of concerns and practices that have comprised the long history of avant-garde film at a level appropriate for undergraduate study. It covers the developments of experimental film-making since the modernist explosion in the 1920s in Europe through to the Soviet film experiments, the American Underground cinema and the French New Wave, structuralism and contemporary gallery work of the young British artists. Through in-depth case-studies, the book introduces students not only to the history of the avant-garde but also to varied analytical approaches to the films themselves - ranging from abstraction (Richter, Ruttmann) to surreal visions (Bunuel, Wyn Evans), underground subversion (Jack Smith, Warhol) to experimental narrative (Deren and Antonioni).

The Avant-Garde Feature Film
The Avant-Garde Feature Film

Author: William E.B. Verrone

Publisher: McFarland

Published: 2011-11-08

Total Pages: 232

ISBN-13: 0786488816

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Here is a critical and historical overview of unconventional and aesthetically challenging films, all of feature length. The author focuses on the particular forms of contemporary avant-garde films, which often rely on characteristics associated with historical films of the same genre. Included are works by such visionary filmmakers as David Lynch, Luis Bunuel, Jean Cocteau, Jean-Luc Godard, Guy Maddin and Derek Jarman. The first of the two appendices contains a filmography of key avant-garde feature films, from Haxan: Witchcraft Through the Ages (1922) to Maximum Shame (2010). The second appendix offers a brief list of directors who have made significant contributions to films that take alternative approaches to cinematic practice, establishing new grounds for analysis and evaluation.

Film at Wit's End
Film at Wit's End

Author: Stan Brakhage

Publisher:

Published: 1989

Total Pages: 208

ISBN-13:

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Based on lectures that Brakhage gave at the school of the Art Institute of Chicago, this volume portrays eight artists who have electrified American independent cinema across four decades. With characteristic directness, anecdotal style, and wry humor, Brakhage, himself an influential American independent filmmaker, brings into sharp focus the life and work of Jerome Hill, Marie Menken, James Brouhgton, Maya Deren, Ken Jacobs, Sidney Peterson, Bruce Conner, and Christopher MacLaine. He also portrays the art scenes of New York and San Francisco during times of ferment and controversy. ISBN 0-914232-99-1: $20.00.