000			05239nam a2200481 i 4500
001			BRILL9789401200035
003			nllekb
005			20260610104800.0
007			cr un uuuua
008			071211s2007 ne sb 001 0 eng d
020			_a9789401200035 _q(electronic book)
020			_z9789042023055 _q(print)
024	7		_a10.1163/9789401200035 _2DOI
035			_a(OCoLC)183317290 _z(OCoLC)647915169 _z(OCoLC)714568409 _z(OCoLC)764536776
040			_aNL-LeKB _cNL-LeKB _erda
050		4	_aPN1995.9.E96 _bA93 2007eb
072		7	_aPER _x004040 _2bisacsh
072		7	_aDSA _2bicssc
072		7	_aLIT006000 _2bisacsh
082	0	4	_a791.43/61 _222
245	0	0	_aAvant-garde film / _cedited by Alexander Graf and Dietrich Scheunemann.
264		1	_aAmsterdam ; _aNew York, NY : _bRodopi, _c2007.
300			_a1 online resource (xi, 405 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _2rdacarrier
490	1		_aAvant garde critical studies ; _v23
504			_aIncludes bibliographical references and index.
505	0	0	_tPreliminary material / _rEditors Avant-Garde Film -- _tHans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film / _rR. Bruce Elder -- _tFrames and Windows: Visual Space in Abstract Cinema / _rA.L. Rees -- _tParis – Berlin – Moscow: On the Montage Aesthetic in the City Symphony Films of the 1920s / _rAlexander Graf -- _tMan Ray’s Films: From Dada to Surrealism / _rRudolf E. Kuenzli -- _tOn Mário Peixoto’s Limite / _rMichael Korfmann -- _tDancing with Light: Choreographies of Gender in the Cinema of Germaine Dulac / _rTami M. Williams -- _tMayakovsky: Film: Futurism / _rMarina Burke -- _tThe Interiority of Space: Desire and Maya Deren / _rMaureen Turim -- _tStan Brakhage’s Film Testament: The Four Faust Films / _rInez Hedges -- _tLight-Play and the Aesthetics of Avant-Garde Film / _rWilliam C. Wees -- _tPaul Sharits: from Cinematic Movement to Nondirectional Motion / _rYvonne Spielmann -- _tChanges in experimental filmmaking between the 1920s and the 1960s: On Luis Buñuel / _rPierre Sorlin -- _tIt’s a Kind of Magic: World Construction in French Surrealist and Belgian Magical Realist Fiction and Cinema / _rBart Keunen and Sascha Bru -- _tPeter Kubelka’s Arnulf Rainer / _rNicky Hamlyn -- _tDanish Avant-Garde Filmmakers of the 1960s: Technology, Cross-aesthetics and Politics / _rTania Ørum -- _tFrench Experimental Cinema: the Figural and the Formless – Nicolas Rey’s Terminus for you (1996) and Pip Chodorov’s Charlemagne 2: Piltzer (2002) / _rMartine Beugnet -- _tThe Stammering Frame: on recent French and Austrian Film Experiments / _rFrédérique Devaux -- _tInscriptions of Light and The ‘Calligraphy of Decay’: Volatile Representation in Bill Morrison’s Decasia / _rUrsula Böser -- _tFrom Video Art to Video Performance: The Work of Ulrike Rosenbach / _rGünter Berghaus -- _tNew Media and Feminist Interventions: Valie Export’s Medial Anagrams / _rMargit Grieb -- _tThe Paracinema of Anthony McCall and Tony Conrad / _rJonathan Walley -- _tList of Illustrations / _rEditors Avant-Garde Film -- _tContributors to this volume / _rEditors Avant-Garde Film -- _tIndex / _rEditors Avant-Garde Film.
506			_aAvailable to subscribing member institutions only.
520			_aThis 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.
648		7	_a1900 - 1999 _2fast
650		0	_aExperimental films _xHistory and criticism _y20th century.
650		7	_aExperimental films. _2fast
655		7	_aCriticism, interpretation, etc. _2fast
700	1		_aGraf, Alexander.
700	1		_aScheunemann, Dietrich.
776	0	8	_iPrint version: _tAvant-garde film. _dAmsterdam ; New York, NY : Rodopi, 2007 _z9042023058 _z9789042023055 _w(OCoLC)181068805
830		0	_aAvant-Garde Critical Studies _v23.
830		0	_aLiterature and Cultural Studies E-Books Online, Collection 2007, ISBN: 9789004357969.
856	4		_zDOI: _uhttp://dx.doi.org/10.1163/9789401200035
999			_c13051 _d13051