AVANT-GARDE FILM

Erscheinungsjahr 2007
ISBN: 978-90-420-2305-5
Verlag: BRILL ACADEMIC PUB

Buch, Englisch, Band 23, 408 Seiten, Format (B × H): 155 mm x 235 mm, Gewicht: 773 g

Reihe: Avant-Garde Critical Studies

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.

Autoren/Hrsg.

Weitere Mitwirkende

Graf, Alexander

Scheunemann, Dietrich

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgeschichte

Inhaltsverzeichnis

Preface
Abstraction, Surrealism, Futurism: The Cinema of the Historical Avant-Garde
R. Bruce ELDER: Hans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film
A.L. REES: Frames and Windows: Visual Space in Abstract Cinema
Alexander GRAF: Berlin - Moscow: On the Montage Aesthetic in the City Symphony Films of the 1920s
Rudolf E. KUENZLI: Man Ray’s Films: From Dada to Surrealism
Michael KORFMANN: On Mário Peixoto’s Limite
Tami M. WILLIAMS: Dancing with Light: Choreographies of Gender in the Cinema of Germaine Dulac
Marina BURKE: Mayakovsky: Film: Futurism
Post-War American and European Experiments
Maureen TURIM: The Interiority of Space: Desire and Maya Deren
Inez HEDGES: Stan Brakhage’s Film Testament: The Four Faust Films
William WEES: Light-Play and the Aesthetics of Avant-Garde Film
Yvonne SPIELMANN: Paul Sharits: from Cinematic Movement to Non-directional Motion
Pierre SORLIN: Changes in experimental filmmaking between the 1920s and the 1960s: On Luis Buñuel
Bart KEUNEN and Sascha BRU: It’s a Kind of Magic: World Construction in French Surrealist and Belgian Magical Realist Fiction and Cinema
Nicky HAMLYN: Peter Kubelka’s Arnulf Rainer
Tania ØRUM: Danish Avant-Garde Filmmakers of the 1960s: Technology, Cross-aesthetics and Politics
New Technologies and Media Convergence: The Contemporary Avant-garde Film
Martine BEUGNET: French Experimental Cinema: the Figural and the Formless – Nicolas Rey’s Terminus for you (1996) and Pip Chodorov’s Charlemagne 2: Piltzer (2002)
Frédérique DEVAUX: The Stammering Frame: on recent French and Austrian Film Experiments
Ursula BÖSER: Inscriptions of Light and The ‘Calligraphy of Decay’: Volatile Representation in Bill Morrison’s Decasia
Günter BERGHAUS: From Video Art to Video Performance: The Work of Ulrike Rosenbach
Margit GRIEB: New Media and Feminist Interventions: Valie Export’s Medial Anagrams
Jonathan WALLEY: The Paracinema of Anthony McCall and Tony Conrad
List of Illustrations
About the Authors
Index