Avant-Garde Cinema

Regarding Mekas: Avant-Garde Film and Audience Subjectivity

by Jan-Christopher Horak

A Line of Sight: American Avant-Garde Film since 1965, and: The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (review)

by Jan-Christopher Horak

Cinema 16: Documents toward a History of the Film Society (review)

by Jan-Christopher Horak

A neglected genre: James Sibley Watson's avant-garde industrial films

by Jan-Christopher Horak

Más allá de la nación cubana: prácticas metaxtuales en el cine “callejero” de Esteban Insausti

by Santiago Juan-Navarro

Paper to be delivered at the II International Conference on Hispanic Metafiction, Université de Bourgogne, Dijon, France, June 21-22, 2012.

Tras el derrumbe de la industria cinematográfica cubana a finales del siglo XX (resultado de los cambios radicales... more Tras el derrumbe de la industria cinematográfica cubana a finales del siglo XX (resultado de los cambios radicales experimentados por el Cuba a partir del Periodo Especial), se ha producido en los últimos años un boom de películas independientes dentro de un contexto posnacional y globalizado.  Ann Marie Stock (On Location in Cuba 2009) se ha referido a este fenómeno como “Street Filmmaking” (“cine callejero”), ya que consiste en producciones realizadas al margen de la industria estatal y con una increíble precariedad de medios. Aunque la calidad de estos filmes es desigual, como se desprende de la Muestra de Jóvenes Realizadores que tiene lugar cada año en La Habana, destaca la obra profundamente innovadora de Esteban Insausti. Filmes documentales como “Las manos y el ángel” (2002), sobre el pianista de jazz latino Emiliano Salvador, “La sed de mirar”, homenaje al fotógrafo Jorge Herrera, “Existen” (2005), construido sobre la base de entrevistas a “ilustres” locos de La Habana, el mediometraje de ficción “Luz roja”, integrado en el filme-tríptico Tres veces dos (2003), o su primer largometraje, Larga distancia (2009), rinden homenaje a la tradición vanguardista del cine cubano al mismo tiempo que reciclan elementos de la estética del video arte, la publicidad y los video clips musicales dentro de una mirada interrogadora que busca desmarcarse de los mitos nacionales del origen que durante más de 50 años marcaron obsesivamente la producción del ICAIC (el Instituto Cubano de Arte e Industrias Cinematográficas). En mi ponencia analizaré esta paradójica amalgama de apropiación de modelos autóctonos y foráneos dentro de una cinematografía que tiende a alejarse de las imposiciones del aparato cultural del Estado para reafirmar su identidad en la subjetividad del autor.

CFP: International Film and Media Studies Journal: Acta Universitatis Sapientiae

by Ágnes Pethő

The International, peer-reviewed, open access journal of the Sapientia University (Cluj-Napoca, Romania) invites the submission of original, previously unpublished articles written in English. Articles in all areas of film and media studies are welcome. Deadline for the next issue: June 15, 2012. Previous issue available online here: http://www.acta.sapientia.ro/acta-film/, and here: http://issuu.com/actauniversitatissapientiae/docs/film4_2011

Vias no realizadas en el cine político chileno. Parodia, extrañamiento, reflexividad

by Ivan Pinto Veas

En co- autoría con Luis Felipe Horta.

AISTHESIS N° 47 (2010): 128—141
ISSN 0568— 3939
© Instituto de Estética — Pontificia Universidad Católica de Chile

DOSSIER: CINE Y POLÍTICA EN CHILE

Abstract • Abstract During a convulsed political period that will reach its climax with a military coup in 1973,... more Abstract • Abstract During a convulsed political period that will reach its climax with a military coup in 1973, Chilean cinema focused on the question of its function as a source of social change and support for the Popular Unity government (UP). Questioning its cinematographic operations and establishing a clarifying index of reflexivity, two films Queridos compañeros (1976) and Realismo socialista (1973) will leave traces of an interrupted process within political cinema in Chile. Both films state a critique of traditional left cinema, one by means of parody, and the other by a "mise en abyme"— or a story—within—a—story— of its narration.

Keywords: Cinema, Politics, Militante, Parody, Reflexivity.

Resumen • En el marco de un convulsionado período político que llevará al golpe de estado de 1973, el cine chileno enfatiza la pregunta por su función como generador de cambios sociales y de apoyo al gobierno de la Unidad Popular. Cuestionando sus operaciones cinematográficas y estableciendo un claro índice de reflexividad, dos filmes, Queridos compañeros (1976) y Realismo socialista (1973) dejarán huellas de las "vías no realizadas" del cine político chileno, que se verán interrumpidas por los acontecimientos históricos. Ambos filmes articulan una crítica a la visión clásica del cine militante de izquierda, uno por vía de la parodia, el otro por la "puesta en abismo" del relato.

Palabras clave: cine, política, militancia, parodia, reflexividad.

Enlisting and Updating: Ruggero Vasari and the Shifting Coordinates of Futurism in Eastern and Central Europe

by Maria Elena Versari

"International Yearbook of Futurism Studies"
ed. by Günter Berghaus (1) (November 2011): 277–298

"An Art That Won't Behave": Film and the Seven Arts, 1907-1921

by Michael Devine

American Literature 84.1 (March 2012): 89-117

In the first two decades of the twentieth century, American artists connected to the journal the Seven Arts sought to... more In the first two decades of the twentieth century, American artists connected to the journal the Seven Arts sought to transform the cinema into an indigenous art free from European influence. Precisely because the cinema was “an art that won't behave,” as the journal's first essay on film put it, it depended on the arts as tutor texts in the effort to restrain sensory disorder and reinvigorate communal life. Wholly absent from critical treatments that see film as a model for the most kinetic modernist practices, the journal provides entry to a richly interdisciplinary history of American cinema: in the critical writings and poetry of the journal's contributors, including James Oppenheim, Waldo Frank, Vachel Lindsay, Stephen Vincent Benét, and Babette Deutsch, and in the works of artists close to the journal—John Sloan's painting Movies, Five Cents (1907) and Paul Strand and Charles Sheeler's abstract film Manhatta (1921). Imagined as a shelter from the most dispiriting forces of urban-industrial modernity, the cinema was at once embraced, challenged, and idealized by these artists who practiced what Wanda Corn has called a “transcendent modernism.”

El ojo, la mirada: representación e imagen en las trazas de la Antropología Visual

by L. Nicolás Guigou

The German Experimental Film: From the beginnings to 1970

by Ingo Petzke

Catalogue for a film exhibition by the Goethe Institut. Munich 1981

Introduction to 3 distinctively different programs: the 20s. The 50s and early 60. The late 60s.
Remarks on... more Introduction to 3 distinctively different programs: the 20s. The 50s and early 60. The late 60s.
Remarks on films by Richter, Ruttmann, Eggeling, Seeber, Graeff, Schwerdtfeger. Kristl, Reitz, Spieker, Moorse, Reitz. Nekes, Wiest, Costard, Winkelmann, Mommartz, Herbst, Wender.

El Barroco cinematográfico

by antonio dominguez leiva

Second versant : quatre procédés pudiques du cinéma de l'extrême

by Pierre-Alexandre Fradet

Écrit en collaboration avec Julie Demers, dossier sur le cinéma de l'extrême dirigé par Simon Laperrière, Pop-en-stock, 2012.

La face pudique du cinéma de l'extrême. Premier versant : Du "tout voir" au "tout saisir"

by Pierre-Alexandre Fradet

Écrit en collaboration avec Julie Demers, dossier sur le cinéma de l'extrême dirigé par Simon Laperrière, Pop-en-stock, 2012.

"Time mechanization in the modern city though 20’s Avant-Garde Cinema". Paper at International Conference OUTLINE OF THE MODERN CITY: IMAGES, FORMATS, STYLES. Bucarest (Rumanía) 30/09- 3/10/2010

by Mª Soliña Barreiro

Conference, soon published at: Barreiro, M.S. "Time mechanization in the modern city though 20’s Avant-Garde Cinema". En Outline of
the Modern city. Rodopi, 2012

Review essay on New Latin American Cinemas (in Bengali language)

by Abhijit Roy

Baromas, Festival Number, 1999

Review article on the book 'The New Latin American Cinema: Readings from within' ed. Indranil Chakraborty, S. V.... more Review article on the book 'The New Latin American Cinema: Readings from within' ed. Indranil Chakraborty, S. V. Raman, Samik Bandyopadhyay. Celluloid Chapter, Jamshedpur, India. 1998.

Le silence plurivoque des bêtes - ou pourquoi le critique peut trahir l'auteur ? (analyse de "Bestiaire" de Denis Côté)

by Pierre-Alexandre Fradet

Séquences, à paraître

"The Equitable Eye: On Creaturely Life in the Films of Betty Leirner"

by Anat Pick

Catalogue essay, Betty Leirner Retrospective, Cinemateca Brasileira, São Paolo, September 2010

Douglas Gordon and Cinematic Audiovisuality in the Age of Television: Experiencing the Experience of Cinema

by Andy Birtwistle

Visual Culture in Britain, Volume 13, Issue 1, March (2012), pp.101-113.

Focusing on the work of Douglas Gordon, this article explores some of the ways in which contemporary arts practice... more Focusing on the work of Douglas Gordon, this article explores some of the ways in which contemporary arts practice engages with cinema in a televisual age. Whenever one media technology loses its dominance, is eclipsed or replaced by another, we witness a moment during which the passing technology becomes fetishized – a moment at which the status of its images and sounds and even their perceived qualities begin to change. Within the context of contemporary arts practice, the images of a once popular form of cinema have thus begun to take on the aura of the art object, read and experienced in new ways.

Understandably, much of the critical reaction to Douglas Gordon and Philippe Parreno's Zidane: A 21st Century Portrait has focused on its status as a film about football, and as a portrait of one of the sport's stars. The film might, however, also be read as a meditation on cinematic affect and cinematic materiality, and in this respect sits comfortably with Gordon's ongoing creative engagement with cinema, evidenced in works such as 24 Hour Psycho. While much of Gordon's video work has engaged with the cinematic image through the re-articulation of Hollywood films, in this article I examine the ways in which Zidane creates a dialectic between cinema and television that serves to foreground cinematic materiality and cinematic experience. Reconnecting Zidane with Gordon's earlier work, my aim here is to consider how cinematic experience and the materiality that serves as the foundation of that experience might in themselves be understood to constitute a fundamental element of Gordon's artworks.

Hold Me While I’m Naked: Notes on a Camp Classic

by Deborah Allison

Published in Senses of Cinema, issue 32, July-September 2004 (CTEQ Annotations on Film series).