@article {expcin15987, title = {Expanded Cinema 2. Immersions: Towards the Tactile Cinema / Расширенное кино 2}, year = {2012}, pages = {148 pp}, publisher = {MediaArtLab}, address = {Moscow}, abstract = {

Published by MediaArtLab Centre for Art and Culture for the exhibition "The Immersions. Towards the Tactile Cinema", Ekaterina Cultural Foundation, Moscow, June, 23 {\textemdash} August, 19 2012
Curated by Olga Shishko

}, keywords = {Expanded cinema, Olga Shishko}, url = {http://web.archive.org/web/20130820201602/http://www.mediaartlab.ru/books/mf2012_web.pdf}, author = {Alina Streltsova and Olga Shishko and Chris Hales and Roman Putyatin and Pia Tikka and VALIE EXPORT and Kent Long and Piotr Krajewski and Tom Kohut} } @book {expcin15997, title = {Experimental Film and Video: An Anthology}, year = {2006}, pages = {302 pp}, publisher = {John Libbey Publishing}, organization = {John Libbey Publishing}, address = {Eastleigh}, abstract = {

The past 40 years of technological innovation have significantly altered the materials of production and revolutionized the possibilities for experiment and exhibition. Not since the invention of film has there been such a critical period of major change in the imaging technologies accessible to artists. Bringing together key artists in film, video, and digital media, the anthology of Experimental Film and Video revisits the divergent philosophical and critical discourses of the 1970s and repositions these debates relative to contemporary practice. Forty artists have contributed images, and 25 artists reflect on the diverse critical agendas, contexts, and communities that have affected their practice across the period from the late 1960s to date. Along with an introduction by Jackie Hatfield and forewords by Sean Cubitt and Al Rees, this illustrated anthology includes interviews and recent essays by filmmakers, video artists, and pioneers of interactive cinema. Experimental Film and Video opens up the conceptual avenues for future practice and related critical writing.

}, keywords = {Andrew K{\~o}tting, Anthony McCall, Brad Butler, Catherine Elwes, Chantal Akerman, Chris Meigh-Andrews, Chris Welsby, Daniel Reeves, David Critchley, David Hall, David Larcher, George Barber, Grahame Weinbren, Guy Sherwin, Jackie Hatfield, Jayne Parker, Jeremy Welsh, Jo Ann Millet, John Smith, Karen Mirza, Katherine Meynell, Kayla Parker, Lis Rhodes, Malcolm Le Grice, Mike Leggett, Nicky Hamlyn, Nina Danino, Peter Gidal, Rob Gawthrop, Sarah Pucill, Stephen Hawley, Stephen Littman, Stephen Partridge, Tamara Krikorian, texts by artists, Tina Keane, Tony Sinden, Vicky Smith, William Raban}, isbn = {978-0-86196-906-7}, author = {Susanna Poole and Gareth Evans and Stephen Littman and Grahame Weinbren and Peter Gidal and Chris Welsby and Nicky Hamlyn and Jayne Parker and Rob Gawthrop and Anthony McCall and Lis Rhodes and Sarah Pucill and Nina Danino and Katherine Meynell and David Critchley and Chris Meigh-Andrews and Andrew K{\~o}tting and Daniel Reeves and Vicky Smith and Karen Mirza and Brad Butler and Stephen Partridge and Catherine Elwes and Malcolm Le Grice and Mike Leggett}, editor = {Jackie Hatfield} } @book {bonet2005proximamente, title = {Pr{\'o}ximamente en esta pantalla: el cine letrista, entre la discrepancia y la sublevaci{\'o}n}, year = {2005}, pages = {341 pp}, publisher = {Museu d{\textquoteright}Art Contemporani de Barcelona}, organization = {Museu d{\textquoteright}Art Contemporani de Barcelona}, address = {Barcelona}, abstract = {

El letrismo es un movimiento de vanguardia poco conocido fuera de Francia o del arte experimental. Empez{\'o} con la innovaci{\'o}n po{\'e}tica y musical, y luego fue abri{\'e}ndose al arte, la cultura y el pensamiento. Este volumen se centra en el cine letrista, que desde 1951 se convirti{\'o} en uno de los elementos clave del movimiento

}, keywords = {Isidore Isou, Lettrist Cinema, Maurice Lema{\^\i}tre}, issn = {9788489771192}, author = {Eduard Escoffet and Eugeni Bonet} } @book {expcin15994, title = {Experimental Cinema: The Film Reader}, year = {2002}, pages = {356 pp}, publisher = {Routledge}, organization = {Routledge}, address = {New York/London}, abstract = {

Brings together key writings on American avant-garde cinema to explore the long tradition of underground filmmaking from its origins in the 1920s to the work of contemporary film and video artists.

}, keywords = {Agn{\`e}s Varda, Andy Warhol, Barbara Hammer, Black cinema, Carolee Schneemann, Chantal Akerman, Female cinema, Gay cinema, Germaine Dulac, Hollis Frampton, Jack Smith, Kenneth Anger, Maya Deren, Michael Snow, Stan Brakhage, Su Friedrich, Trinh T. Minh-ha, Warren Sonbert, Yoko Ono}, isbn = {9780415277877}, author = {Jan-Christopher Horak and Jonas Mekas and Lauren Rabinovitz and Agn{\`e}s Varda and Juan Antonio Su{\'a}rez and Suranjan Ganguly and Jerry Tartaglia and Kate Haug and Reva Wolf and Daryl Chin and Yoko Ono and P.Adams Sitney and Scott MacDonald and Philip Lopate and David Ehrenstein and Peter Gidal and Chris Holmlund and Gloria J. Gibson and Kobena Mercer}, editor = {Wheeler Winston-Dixon and Gwendolyn Audrey Foster} } @article {expcin15975, title = {Desmontaje: film, v{\'\i}deo, apropiaci{\'o}n, reciclaje}, year = {1993}, pages = {205 pp}, publisher = {Institut Valencià d{\textquoteright}Art Modern}, address = {Valencia}, abstract = {

Catalog of the exhibition held at IVAM Centre Julio González and other venues Feb. 26-June 8, 1993. Bonet introduces this investigation of the use of found footage in film and video with a history of the genre. Five essayists discuss "scratch video," found imagery composed entirely of quoted material, the use of archival footage, and the impact and principles of collage. With comments (mostly reprinted) on works by 60 artists and collectives.

}, keywords = {Found footage}, isbn = {9788448201319}, author = {Eugeni Bonet and William C Wees and John Wyver and Catherine Elwes and Joel Katz and Yann Beauvais and Ken Jacobs} } @book {expcin15991, title = {The Avant-garde Film: A Reader of Theory and Criticism}, series = { Anthology film archives}, number = {3}, year = {1978}, pages = {295 pp}, publisher = {New York University Press}, organization = {New York University Press}, address = {New York}, abstract = {

This anthology is both a history of the avant-garde film genre and a compendium of theories of cinema articulated by major filmmakers. The 33 selections include several previously unpublished theoretical and critical articles and many articles that were especially translated into English for this collection. Other selections were drawn from interviews and from lectures contained in the Anthology Film Archives.

}, keywords = {Andy Warhol, Anthony McCall, Antonin Artaud, Ernie Gehr, Germaine Dulac, Hans Richter, Harry Smith, Hollis Frampton, James Broughton, James Whitney, Jean Epstein, John Whitney, Jonas Mekas, Joseph Cornell, Maya Deren, Michael Snow, Paul Sharits, Peter Kubelka, Sergei Eisenstein, Sidney Peterson, Stan Brakhage, Tony Conrad}, isbn = {9780814777930}, author = {P.Adams Sitney and Sergei Eisenstein and Hans Richter and Jean Epstein and Germaine Dulac and Antonin Artaud and Joseph Cornell and Maya Deren and Sidney Peterson and James Broughton and John Whitney and James Whitney and Harry Smith and Carel Rowe and Stan Brakhage and Peter Kubelka and Stephen Koch and Annette Michelson and Michael Snow and Jonas Mekas and Ernie Gehr and Anthony McCall and Paul Sharits and Tony Conrad and Hollis Frampton} } @book {expcin15990, title = {Structural Film Anthology}, year = {1976}, pages = {144 pp}, publisher = {British Film Institute}, organization = {British Film Institute}, address = {London}, abstract = {

{\textquotedblleft}This anthology of texts about what have been termed Structural Films attempts to bring together some of the more important essays and articles on those films which have formed the core of film work in this field since its inception. It is a first attempt to bring together texts from Europe, Britain and the United States. In the past we have been inundated with the parochial, American view of avant-garde film work, as expounded on both sides of the Atlantic. This anthology was published to coincide with the series of eighteen programmes, Structural Film Retrospective, at the National Film Theatre, London, in May 1976.

As it happened, no film-maker was included in the programmes who had not produced relevant work before 1971, though many works were from after that year. No new films were introduced; this was a retrospective programme intended to enable a viewing that saw each film in the context of each other film, that could recognise alliances and misalliances between films, that could attempt to deal with the individual filmworks and the critical practice which preceded or followed.

In some cases, the critical practice here is a virtually complete repression through ideology of the text of the film; in the gaps presented work can now take place. The lengths of the sections are dictated by the materials of interest available, and unfortunately in a few cases only very slight material existed. I hope that the selection will not offend; the younger Americans have been left out, as have many of the younger British, because of the wish for a solid retrospective programme as elucidated above. No doubt there are quite a few film-makers completely unknown to me, and to nearly everyone else, who have done and may be doing very important work, and whose work remains {\textquoteleft}out of view{\textquoteright} for a variety of sociological reasons, none of which are praiseworthy. I wish to thank all the film-makers and writers, obviously.

For this reprint nothing has been changed, though a few minor errors have been corrected and Ben Brewster{\textquoteright}s review of the Anthology inScreen has been included as an afterward. I call attention to the {\textquoteleft}Theory and Definition of Structural/Materialist Film{\textquoteright} article in its original form in Studio International (November 1975), and to Deke Dusinberre{\textquoteright}s article relating to it in Screen (Summer 1977). P.G., January 1978" (Introduction)

}, keywords = {Birgit Hein, David Crosswaite, Fred Drummond, George Landow, Gill Eatherley, Hollis Frampton, John Du Cane, Joyce Wieland, Ken Jacobs, Kurt Kren, Malcolm Le Grice, materialist film, Michael Snow, Mike Dunford, Mike Leggett, Paul Sharits, Peter Gidal, Peter Kubelka, Roger Hammond, structural film, Tony Conrad, Wilhelm Hein, William Raban}, isbn = {9780851700533}, url = {http://monoskop.org/log/?p=2612}, author = {Peter Gidal and Malcolm Le Grice and Michael Snow and Hollis Frampton and Mike Dunford and Paul Sharits and Jonas Mekas and Birgit Hein and Gill Eatherley and George Landow and Fred Camper and William Raban and Fred Drummond and David Curtis and Ben Brewster and John Du Cane and Regina Cornwell and Gordon Gow and Simon Hartog and Annette Michelson and Lois Mendelson and Verina Glaessner} }