Book Description
Critics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained the standard text on American avant-garde film since the publication of its first edition in 1974. Now P. Adams Sitney has once again revised and updated this classic work, restoring a chapter on the films of Gregory J. Markopoulos and bringing his discussion of the principal genres and major filmmakers up to the year 2000.
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- Essential Warholia
- probably the best Screen Tests reference-not that I'd know
- the best film document for warhol
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Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonne, Volume One (Andy Warhol Catalogue Raisonnee)
Callie Angell
Manufacturer: "Harry N. Abrams, Inc."
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ASIN: 0810955393 |
Book Description
Published in association with the Whitney Museum of American Art
In the mid-1960s, at the height of his creative powers, Andy Warhol produced hundreds of three-minute cinematic portraits, called "Screen Tests." Although rarely screened now, these short films captured a virtual who's who of the avant-garde, including such cultural icons as Edie Sedgwick, Bob Dylan, Salvador Dali, and Susan Sontag. At last, in the initial volume of the authorized catalogue raisonné of Warhol's films, Warhol authority Callie Angell examines all 189 people captured by Warhol's lens. Stills from many of the films appear here for the first time. Drawing on 13 years of original research into the Screen Test subjects and their relationships to Warhol, Angell provides an unprecedented look at the pop art master's working method, and a unique record of his colorful social and professional life.
Customer Reviews:
Essential Warholia.......2007-05-13
Wow, it's hard to top Billy Name himself writing a review of this, but this book is a real gas and an essential catalog of Warhol's screen tests. You get stills from each of the tests, with a brief bio of each of the subjects. Always interesting and informative, full of surprises and humor, and exhaustively detailed. There were even a few color tests done, and you get stills from each of them too. Some of these people are true shadows and we know little, and some are truly beautiful (Amy Taubin!). I am really looking forward to Volume Two and the "features." Warhol being the most important artist of the second half of the 20th Century, it is even possible that these films may be his most important art works. Mailer said that we wouldn't recognize their value for fifty years, but we've now passed the forty year mark and my impression is that most people would still want to ignore these -- but time will tell.
probably the best Screen Tests reference-not that I'd know.......2006-11-13
Bought it as an anniversary gift. Before wrapping it I paged through and quickly became engrossed. I'm not sure I would have been as interested if I hadn't previously seen many of the screen tests. Author accepts Screen Tests as canonical films whose production details are of tremendous significance. Brief bios and gossipy tidbits cater to shallower retro-interest in the usual superstars, although numerous people cast in the Screen Tests were rich patrons and art industry knobs. Like much of Warhol's oeuvre, the Screen Tests merit sustained viewing only if you're willing to invest a lot in the experience. Vol 1 provides innarestin' background for people so inclined. Might buy Vol 2, if it isn't bloated with stuff on the Warhol-Morrissey productions.
the best film document for warhol .......2006-03-30
callie angell's expert volume 1 of the warhol film catalog raisonne (screentests) is a must for all libraries as the most authentic referrence manual for this ouvre. all information is from direct viewing of the films and interviews with actual participants. it is therefore the primary source for this series of warhol film art. the publication is beautiful and the illustrations, actual stills from the acutal films, are exciting. the text and essays are chock full of technical info on the making of the series, social notes included. a must have for all serious warhol souces. abrams and the whitney museum of american art did a fine job; it's a historical documentary publication in the art world.
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A History of Experimental Film and Video
A. L. Rees
Manufacturer: British Film Institute
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Binding: Paperback
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ASIN: 0851706819 |
Book Description
Avant-garde film is almost indefinable. It is in a constant state of change and redefinition. In this book A.L. Rees tracks the movement of the film avant-garde between, on the one hand, the cinema, and, on the other hand, modern art (with its post-modern coda). But he also reconstitutes the film avant-garde as an independent form of art practice with its own internal logic and aesthetic discourse.
This is the first major history of avant-garde film and video to be published in more than twenty years. Ranging from Cezanne and dada, via Cocteau, Brakhage and Le Grice, to the new wave of British video artists in the 90s, this remarkable study will introduce a generation of new readers to avant-garde film as well as provoking students and specialists to further reflection and debate.
Customer Reviews:
Absolutely brilliant.......1999-03-20
An amazing account and history of avant garde film a must for any film lover.
Book Description
Experimental film and ethnographic film have long been considered separate, autonomous practices on the margins of mainstream cinema. By exploring the interplay between the two forms, Catherine Russell throws new light on both the avant-garde and visual anthropology.
Russell provides detailed analyses of more than thirty-five films and videos from the 1890s to the 1990s and discusses a wide range of film and videomakers, including Georges Méliès, Maya Deren, Peter Kubelka, Ray Birdwhistell, Jean Rouch, Su Friedrich, Bill Viola, Kidlat Tahimik, Margaret Mead, Tracey Moffatt, and Chantal Akerman. Arguing that video enables us to see film differentlyânot as a vanishing culture but as bodies inscripted in technology, Russell maps the slow fade from modernism to postmodern practices. Combining cultural critique with aesthetic analysis, she explores the dynamics of historical interruption, recovery, and reevaluation. As disciplinary boundaries dissolve, Russell contends, ethnography is a means of renewing the avant-gardism of âexperimentalâ film, of mobilizing its play with language and form for historical ends. âEthnographyâ likewise becomes an expansive term in which culture is represented from many different and fragmented perspectives.
Original in both its choice of subject and its theoretical and methodological
approaches, Experimental Ethnography will appeal to visual anthropologists, as well as film scholars interested in experimental and documentary practices.
Customer Reviews:
Artificial intelligence.......2005-04-15
I had to write this review as Amazon is a place where millions of people buy their books and unfortunately see idiotic reviews such have been offered here before me and this affects the sales of the book. I felt I must defend Russel's book which is an excellent overview of the evolving state of the ethnographic film beyond its roots in anthropological observation. To appreciate this book, one needs to have a few tools to understand some of her ideas, such as the history of the documentary film and its authority over what is to be considered 'real' and 'true' in human experience. This is a book for people interested in a more intuitive exploration of the documentary genre.
Read the 1star critic below for a slob's guide to an opinion.......2003-08-04
on anything that he/she cannot comprehend. I am writing this review primarily to combat the effect that embittered incompetence can have on the artist/intellectual's fair chance to be heard by someone willing to put in a little effort. That said, I now confess I haven't purchased this book or read it in it's entirety. What I have read gave me a run for my money in trying to follow it's over all point. This does not mean something is wrong with the book, thought, or the theory. It means I was challenged by it. (This is a good thing!) What i was able to glean proved to be a fascinating look into the relationship(s) between man and reality, and man and cinema's reality. NOT a casual once-in-a-while read.
More pointless film theory puke.......2000-02-29
You can't follow the thread of Catherine Russell's argument; you can only pretend to, whether you're posturing for stuck-up film theory boyz or forced to "identify the central concepts" in film class. Just read one of her sentences, and then ask yourself, "What is she trying to say?" I'll start you off: "Viola's use of video is informed by an existentialist theory of medium specificity. His treatment of possession is thus ontological and in many ways a more successful version of the 'cine-transe' imagined by Rouch" (234). Over 300 pages of such absurd drivel make this book unreadable. Don't read it passively--question every word, every invented phrase, every name she drops. Her goal is to sound creative and learned ("the cartography of modern culture" *is* a neat phrase), but are we really impressed? No. Well-written books give you plenty of ideas for your time. This crazy offal just gives you one: film theory is utterly pointless.
Book Description
The Garden in the Machine explores the evocations of place, and particularly American place, that have become so central to the representational and narrative strategies of alternative and mainstream film and video. Scott MacDonald contextualizes his discussion with a wide-ranging and deeply informed analysis of the depiction of place in nineteenth- and twentieth-century literature, painting, and photography. Accessible and engaging, this book examines the manner in which these films represent nature and landscape in particular, and location in general. It offers us both new readings of the films under consideration and an expanded sense of modern film history.
Among the many antecedents to the films and videos discussed here are Thomas Cole's landscape painting, Thoreau's Walden, Olmsted and Vaux's Central Park, and Eadweard Muybridge's panoramic photographs of San Francisco. MacDonald analyzes the work of many accomplished avant-garde filmmakers: Kenneth Anger, Bruce Baillie, James Benning, Stan Brakhage, Nathaniel Dorsky, Hollis Frampton, Ernie Gehr, Larry Gottheim, Robert Huot, Peter Hutton, Marjorie Keller, Rose Lowder, Marie Menken, J.J. Murphy, Andrew Noren, Pat O'Neill, Leighton Pierce, Carolee Schneemann, and Chick Strand. He also examines a variety of recent commercial feature films, as well as independent experiments in documentary and such contributions to independent video history as George Kuchar's Weather Diaries and Ellen Spiro's Roam Sweet Home.
MacDonald reveals the spiritual underpinnings of these works and shows how issues of race, ethnicity, gender, and class are conveyed as filmmakers attempt to discover forms of Edenic serenity within the Machine of modern society. Both personal and scholarly, The Garden in the Machine will be an invaluable resource for those interested in investigating and experiencing a broader spectrum of cinema in their teaching, in their research, and in their lives.
Book Description
This groundbreaking book presents a critical introduction to the cultural and political dimensions of contemporary Chinese cinema. Exploring the complex and shifting world of Chinese underground and independent film, leading Western and Chinese scholars trace the changing dynamics of Chinese film culture since the early 1990s as it moves away from underground and toward independence in the new century. With its fresh and knowledgeable analysis of Chinese underground and independent filmmaking, this book will be essential reading for all those interested in a society caught between socialism and global currents.
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MAKING IMAGES MOVE (Smithsonian Studies in the History of Film & Television)
HORAK JC
Manufacturer: Smithsonian
ProductGroup: Book
Binding: Hardcover
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ASIN: 1560987448 |
Book Description
The audacious, attention-grabbing, tongue-in-cheek filmmaker's manifesto that was Dogme 95 has had a massive international impact. Coinciding with the arrival of cut-price digital technology, the aesthetic creed proposed by Thomas Vinterberg (Festen) and Lars von Trier (The Idiots) has resonated with young and indie filmmakers in all continents and been credited with a revival of radical back-to-basics guerrilla-style filmmaking. Many argue it has changed the critical terms in which art and popular cinema are discussed and that it has had an impact on a much wider range of contemporary arts from dance to computer games.
This new book brings together leading scholars from a number of disciplines--film studies, literature, philosophy--in order to focus on some of the keyhistorical and conceptual issues associated with the manifesto's original formulation. In addition to identifying many of the epistemological and aesthetic puzzles to which Dogme 95 gives rise, the book looks at the relationships posited between the avant-garde and popular cinema, the role of "minor cinemas" in a world dominated by Hollywood, and the history and future of art-cinema as a means of cultural exchange between national cinemas.
Amazon.com
A coffee-table book on the Nouvelle Vague (or New Wave) filmmakers might be considered a contradiction in terms. Yet as big and well-designed as it is, with all those creamy photographs, it still manages to look like the smart, perverse product of that band of outsiders who in 1950s Paris decided to overturn the last generation. In Jean Doucet's story, François Truffaut, Jean-Luc Godard, Jacques Rivette, Claude Chabrol, and Eric Rohmer all shucked their day jobs in film criticism to begin making films with borrowed cameras and their raw nerve, hunting their cinematic forefathers--Jean Renoir, Marcel Carne, and Marcel Pagnol. Doucet's lively book is true to their vision too. With its jazz album fonts and tinted photographs of young men smoking, it gives no corner to dumbness, and much space to the coolness of being alive during that time. Through 350-plus pages, Doucet, a philosopher who knew the filmmakers, covers the early days of the Cinematheque Français, where all the filmmakers met and watched Chaplin, Griffith, and Murnau; the emergence of Cahiers du Cinéma, where they published witty, polemical essays, as the center of their revolution; and the films themselves, beginning with Truffaut's 400 Blows in 1959 and Godard's Breathless in 1960. Doucet reproduces film reviews of the period and includes copies of old cine-club programs, newspaper stories, and a final chapter on "new waves" in Iran, Czechoslovakia, Brazil, and even the U.S. (see Jim Jarmusch). A probing, affectionate look at the birth of a handful of movie-mad film students who changed the face of cinema. --Lyall Bush
Book Description
"Here is a lavish history of the film movement that spawned the careers of Francois Truffaut, Jean-Luc Godard, and a number of other important contemporary filmmakers. Douchet... considers his subject from almost every possible angle."--Library Journal. "A landmark in film scholarship."--Cineaste
Customer Reviews:
Essential for serious film lovers!.......1999-11-08
Jean Douchet's book is a splendid chronicle of the French New Wave phenomenon. Generously illustrated and incisively written. Well-balanced. Illuminating profiles on New Wave icons like Godard, Anna Karina, Truffaut, Jacques Rivette.
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