Avant-garde film /
Avant-garde film /
edited by Alexander Graf and Dietrich Scheunemann.
- 1 online resource (xi, 405 pages)
- Avant garde critical studies ; 23 .
- Avant-Garde Critical Studies 23. Literature and Cultural Studies E-Books Online, Collection 2007, ISBN: 9789004357969. .
Includes bibliographical references and index.
Preliminary material / Hans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film / Frames and Windows: Visual Space in Abstract Cinema / Paris – Berlin – Moscow: On the Montage Aesthetic in the City Symphony Films of the 1920s / Man Ray’s Films: From Dada to Surrealism / On Mário Peixoto’s Limite / Dancing with Light: Choreographies of Gender in the Cinema of Germaine Dulac / Mayakovsky: Film: Futurism / The Interiority of Space: Desire and Maya Deren / Stan Brakhage’s Film Testament: The Four Faust Films / Light-Play and the Aesthetics of Avant-Garde Film / Paul Sharits: from Cinematic Movement to Nondirectional Motion / Changes in experimental filmmaking between the 1920s and the 1960s: On Luis Buñuel / It’s a Kind of Magic: World Construction in French Surrealist and Belgian Magical Realist Fiction and Cinema / Peter Kubelka’s Arnulf Rainer / Danish Avant-Garde Filmmakers of the 1960s: Technology, Cross-aesthetics and Politics / French Experimental Cinema: the Figural and the Formless – Nicolas Rey’s Terminus for you (1996) and Pip Chodorov’s Charlemagne 2: Piltzer (2002) / The Stammering Frame: on recent French and Austrian Film Experiments / Inscriptions of Light and The ‘Calligraphy of Decay’: Volatile Representation in Bill Morrison’s Decasia / From Video Art to Video Performance: The Work of Ulrike Rosenbach / New Media and Feminist Interventions: Valie Export’s Medial Anagrams / The Paracinema of Anthony McCall and Tony Conrad / List of Illustrations / Contributors to this volume / Index / Editors Avant-Garde Film -- R. Bruce Elder -- A.L. Rees -- Alexander Graf -- Rudolf E. Kuenzli -- Michael Korfmann -- Tami M. Williams -- Marina Burke -- Maureen Turim -- Inez Hedges -- William C. Wees -- Yvonne Spielmann -- Pierre Sorlin -- Bart Keunen and Sascha Bru -- Nicky Hamlyn -- Tania Ørum -- Martine Beugnet -- Frédérique Devaux -- Ursula Böser -- Günter Berghaus -- Margit Grieb -- Jonathan Walley -- Editors Avant-Garde Film -- Editors Avant-Garde Film -- Editors Avant-Garde Film.
Available to subscribing member institutions only.
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 1920s, to new trends emerging in the 1950s and 1960s and to the impact that innovative technologies have recently had on the further development of avant-garde and experimental film. The contributions reflect the broad range of different moving-image media that make up what we refer to today simply as “film”, at the same time as reconsidering the applicability of the label “avant-garde”, to offer a comprehensive and updated framework that will prove invaluable to scholars of both Moving Image Studies and Art History disciplines.
9789401200035
10.1163/9789401200035 DOI
1900 - 1999
Experimental films--History and criticism--20th century.
Experimental films.
Criticism, interpretation, etc.
PN1995.9.E96 / A93 2007eb
791.43/61
Includes bibliographical references and index.
Preliminary material / Hans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film / Frames and Windows: Visual Space in Abstract Cinema / Paris – Berlin – Moscow: On the Montage Aesthetic in the City Symphony Films of the 1920s / Man Ray’s Films: From Dada to Surrealism / On Mário Peixoto’s Limite / Dancing with Light: Choreographies of Gender in the Cinema of Germaine Dulac / Mayakovsky: Film: Futurism / The Interiority of Space: Desire and Maya Deren / Stan Brakhage’s Film Testament: The Four Faust Films / Light-Play and the Aesthetics of Avant-Garde Film / Paul Sharits: from Cinematic Movement to Nondirectional Motion / Changes in experimental filmmaking between the 1920s and the 1960s: On Luis Buñuel / It’s a Kind of Magic: World Construction in French Surrealist and Belgian Magical Realist Fiction and Cinema / Peter Kubelka’s Arnulf Rainer / Danish Avant-Garde Filmmakers of the 1960s: Technology, Cross-aesthetics and Politics / French Experimental Cinema: the Figural and the Formless – Nicolas Rey’s Terminus for you (1996) and Pip Chodorov’s Charlemagne 2: Piltzer (2002) / The Stammering Frame: on recent French and Austrian Film Experiments / Inscriptions of Light and The ‘Calligraphy of Decay’: Volatile Representation in Bill Morrison’s Decasia / From Video Art to Video Performance: The Work of Ulrike Rosenbach / New Media and Feminist Interventions: Valie Export’s Medial Anagrams / The Paracinema of Anthony McCall and Tony Conrad / List of Illustrations / Contributors to this volume / Index / Editors Avant-Garde Film -- R. Bruce Elder -- A.L. Rees -- Alexander Graf -- Rudolf E. Kuenzli -- Michael Korfmann -- Tami M. Williams -- Marina Burke -- Maureen Turim -- Inez Hedges -- William C. Wees -- Yvonne Spielmann -- Pierre Sorlin -- Bart Keunen and Sascha Bru -- Nicky Hamlyn -- Tania Ørum -- Martine Beugnet -- Frédérique Devaux -- Ursula Böser -- Günter Berghaus -- Margit Grieb -- Jonathan Walley -- Editors Avant-Garde Film -- Editors Avant-Garde Film -- Editors Avant-Garde Film.
Available to subscribing member institutions only.
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 1920s, to new trends emerging in the 1950s and 1960s and to the impact that innovative technologies have recently had on the further development of avant-garde and experimental film. The contributions reflect the broad range of different moving-image media that make up what we refer to today simply as “film”, at the same time as reconsidering the applicability of the label “avant-garde”, to offer a comprehensive and updated framework that will prove invaluable to scholars of both Moving Image Studies and Art History disciplines.
9789401200035
10.1163/9789401200035 DOI
1900 - 1999
Experimental films--History and criticism--20th century.
Experimental films.
Criticism, interpretation, etc.
PN1995.9.E96 / A93 2007eb
791.43/61