Avant Garde Cinema

have been considering women's cinema in the broader field of avant-garde film history. In addition, feminist theorists such as E. Ann Kaplan, Annette Kuhn, and Judith Mayne have paid attention to certain women artists since the 1970s. More inclusive approaches to the field, which embrace a broader variety of films, have been written by Lucy Fischer, Lauren Rabinovitz, B. Ruby Rich, and Alexandra Juhasz. In addition to addressing the work of some of the filmmakers considered in this anthology, these writers use analysis, personal reflection, and/or interviews to contextualize the work in relation to Hollywood film, the social and political context of the 1960s and 1970s, and feminist filmmaking as a broadly defined movement. Recently, the material about certain women filmmakers has begun to thicken, with entire books and even several volumes devoted to the likes of Rainer, Deren, and Joyce Wieland. As more and more scholars and publishers tackle the challenges of researching women experimental filmmakers, the odds increase that the films will still be here for the generations to come. The one question that is bound to arise in perusing the table of contents of this book is, why these filmmakers and not others? Regrettably, there are no chapters on Sara Kathryn Arledge, Freude Bartlett, Julie Dash, Storm de Hirsch, Tracey Moffatt, Anne Severson, and many more. ∞∑ An anthology can contain only a certain number of essays, of course, but in these cases there were simply no scholars currently willing or able to write about these artists. In other cases, such as that of Yoko Ono and certainly Deren, the reconsideration of their life's work has already begun. ∞∏ For the most part, however, the filmmakers included in this anthology are those who have achieved recognition, if not from the field at large then at least from the small group of scholars involved with experimental cinema. Notes 1 Organized by Jacques Ledoux, the first Belgian festival, the Festival International du Film Expérimental and Poétique, was held in the summer of 1949, the second, the Experimental Film Competition, was held in Brussels in the spring of 1958, and the rest of the events were titled International Experimental Film Competition and held in Knokke, with the third held from December 25, 1963, to January 2, 1964, the fourth during the same dates in 1967-68, and the fifth and final one during the same period in 1974-75.

have been considering women's cinema in the broader field of avant-garde film history. In addition, feminist theorists such as E. Ann Kaplan, Annette Kuhn, and Judith Mayne have paid attention to certain women artists since the 1970s. More inclusive approaches to the field, which embrace a broader variety of films, have been written by Lucy Fischer, Lauren Rabinovitz, B. Ruby Rich, and Alexandra Juhasz. In addition to addressing the work of some of the filmmakers considered in this anthology, these writers use analysis, personal reflection, and/or interviews to contextualize the work in relation to Hollywood film, the social and political context of the 1960s and 1970s, and feminist filmmaking as a broadly defined movement. Recently, the material about certain women filmmakers has begun to thicken, with entire books and even several volumes devoted to the likes of Rainer, Deren, and Joyce Wieland. As more and more scholars and publishers tackle the challenges of researching women experimental filmmakers, the odds increase that the films will still be here for the generations to come. The one question that is bound to arise in perusing the table of contents of this book is, why these filmmakers and not others? Regrettably, there are no chapters on Sara Kathryn Arledge, Freude Bartlett, Julie Dash, Storm de Hirsch, Tracey Moffatt, Anne Severson, and many more. ∞∑ An anthology can contain only a certain number of essays, of course, but in these cases there were simply no scholars currently willing or able to write about these artists. In other cases, such as that of Yoko Ono and certainly Deren, the reconsideration of their life's work has already begun. ∞∏ For the most part, however, the filmmakers included in this anthology are those who have achieved recognition, if not from the field at large then at least from the small group of scholars involved with experimental cinema. Notes 1 Organized by Jacques Ledoux, the first Belgian festival, the Festival International du Film Expérimental and Poétique, was held in the summer of 1949, the second, the Experimental Film Competition, was held in Brussels in the spring of 1958, and the rest of the events were titled International Experimental Film Competition and held in Knokke, with the third held from December 25, 1963, to January 2, 1964, the fourth during the same dates in 1967-68, and the fifth and final one during the same period in 1974-75.

Varolusculuk, ileri seviyede dusunebilme yetisine sahip olan insanin kendi kendini olusturma duyarliligidir. Her dusunce sisteminde oldugu gibi varolusculugun temelinde de kitlesel yasanmislik soz konusudur. Yirminci yuzyilin savaslarla gecen ilk yarisinin kaotik yapisi, bireyleri toplumun genelinden farkli dusunebilen birey insalarina itmistir. Savas donemlerinde yasanan buyuk bunalimlar ve ekonomik krizler gelecek kaygilarina neden olmustur. Bu durum gundelik yasami etkiledigi gibi basta felsefe, edebiyat ve sinema olmak uzere sanatta da karsiligini bulmustur. Varolusun genel kabullerden ve toplumsal geleneklerden kopus oldugu dusunulurse varoluscu sinemanin yasanmisliklari temel aldigi ve ana akim sinemadan uzak bir yapida oldugunu soylenebilir. Turk Sinemasi’nin son yillardaki auteur yonetmenlerinden Zeki Demirkubuz genclik yillarinda yasamis oldugu tecrubeleri sanatina aktaran isimlerden biridir. Sinemasinin temelinde toplumsal deger ve kabullerden kopmus bireylerin ozlerini ar...

Apres guerre, sous l’impulsion de Jean Cocteau, un puissant cine-club fit le constat que le cinema de l’epoque etait en voie d’uniformisation : Objectif 49. Son analyse tranchait : un cinema industriel et paresseux s’etait impose grâce aux grands reseaux de distribution et a leur monopole. Un manifeste fut donc redige afin qu’un nouveau cinema puisse trouver sa place en marge des superproductions. Un « festival du film maudit » fut meme cree, a Biarritz, ou les noms et figures d’Orson Welles, de Renoir ou de Bazin coexisterent pour la premiere fois avec ceux de jeunes cinephiles comme Rohmer et Truffaut. Cette ouvrage propose une analyse genetique de ce dispositif critique multimodal (cine-club et festival) sans se focaliser sur sa seule dimension discursive et critique mais en prenant en compte les interrelations sociales dont les discours et prises de positions du mouvement Objectif 49 furent l’emanation. En retracant les trajectoires communes des fondateurs du mouvement Objectif ...

La condizione che determina lo scatenarsi della violenza è indissolubilmente collegata alla capacità intellettiva di immaginare. La fantasia determina uno spostamento in avanti rispetto al vissuto esistenziale: l'uomo si libera delle proprie consuetudini e libera la propria dimensione onirica, abbattendo inibizioni e convenzioni. La violenza immaginata è pertanto libera, e allo stesso tempo ossessiva e coercitiva: l'uomo è spinto dal desiderio, a ricercare continuamente quella dimensione di piacere oltranzista che appare da sempre irraggiungibile. I tre film qui presi in considerazione, poggiano le basi della loro struttura narrativa e figurativa sulla concezione onirica della violenza (e della sessualità) indirizzata a costruire l'immagine contraddittoria di "paradiso della crudeltà". Appare pertanto necessario, che una delle componenti imprescindibili, per le tre pellicole, sia quella della contaminazione: l'erotico si mescola con l'horror, che a sua volta si mescola alla pornografia. Quello che colpisce è l'assoluta naturalezza con cui nei tre film si amalgamano ingredienti (quasi) incompatibili. Al centro di Immagini di un convento, Virus, e Sesso nero, l'elemento-perno che unisce i generi e che deflagra (letteralmente) sullo schermo è quello del corpo.

The article explores the potential of montage beyond the cinematic realm, emphasizing its heuristic and expressive value in the context of the artistic avant-gardes of the 1920s. Montage is analyzed as a principle capable of technically reconfiguring perceptual models and reflecting dialectically the conflicts of reality through the juxtaposition of heterogeneous forms. At the heart of the debate on montage theories, the aim of the essay is to propose a possible reconciliation, beyond structural divergences, between Ejzenštejn’s montage theory and surrealism, particularly regarding the dissident forms and expressions of the latter.

This essay contemplates Chris Marker’s film La Jetée (1962) via Svetlana Boym’s conceptualization of “restorative” versus “reflective” nostalgia. It looks in part at the film’s presentation of the protagonist’s restorative nostalgia, but unlike previous examinations of nostalgia’s role in La Jetée, this essay foregrounds the viewer’s own experience of a reflective nostalgia for the film. The author considers her personal and subjective, and historically specific, encounters with La Jetée in relation to how the film may produce a similar nostalgia in others through its storytelling and unusual combination of photographic and cinematic form. Drawing also on Réda Bensmaïa’s semiotic and psychoanalytic analysis of the film’s “pictogrammatic” quality, the essay further considers the possible roles of trauma and masochism in the film and for its viewers, and relates the experience of watching La Jetée to that of watching An Occurrence at Owl Creek Bridge (also 1962). The essay therefore s...

When considered separately from any reference to specific art work or movements, the notion of "avant-garde" calls for a trans-historical, or at least trans-temporal, perspective. Derived from the French warfare lexicon in use since the Middle Ages and originally indicating a contingent of forerunners leading a military formation, the word took a more figurative nuance as early as the midsixteenth century, when literary historian Etienne Pasquier described Renaissance poets as "the avant-garde" in "a war against ignorance". 2 Such a use of the term foreshadowed the romantic meaning it would eventually took up three centuries later among Saint Simon's disciples, for whom it outlined the role of the artists as forerunners, paving the way of the future society by promoting revolutionary changes. 3 In transposing its military semantic field in which it functioned as a spatial concept to a temporal metaphor, the notion posits an understanding of time as a linear and evolutionary progress (an "unexorable march", so to speak) which has deep roots in modern thinking. On a broader level, the very idea of an avant-garde is in fact 'directly indebted to the broader consciousness of modernity-a sharp sense of militancy, praise of nonconformism, courageous precursory exploration, and, on a more general plane, confidence in the final victory of time and immanence over traditions' 4 to the point where it can also be read as a dramatization and radicalization of modernity's main tenets. To simply state that an art-work is 'Advancing through Time. Avant-garde and Mass Culture', François Mouillot wrote the second paragraph 'Moving in Between. Intermedial Art and Networks', and Maria Teresa Soldani wrote the third paragraph 'At the Criss Cross between Music, Art and Visual Media'. 2 Etienne Pasquier, Oeuvres choisies, ed. by Léon Feugère (Paris: Firmin Didot, 1849), vol. 2, p. 21 (our translation). 3 The first acknowledged use of the word in this sense is dated back to Olinde Rodrigues's 'L'artiste, le savant et l'industriel: Dialogue' in Opinions littéraires, philosophiques et industrielles

This article argues that Su Friedrich's 1984 film The Ties That Bind employs what were at the time atypical forms and techniques to push the limits of the traditional historical documentary. Its aesthetic experimentation helps to redefine the idea of historical representation in film, and does so mainly by treating evidence as both partial (in both senses of the word) and contingent, offering a radical challenge to normative history and destabilizing the notion of history as authority. Unlike conventional documentaries, the film marks its own limitations: its inability to provide stable answers or eternal certainties. Questioning her mother's spoken memories, and commenting on them, Friedrich forces a rupture in the 'evidence' of history and establishes a place in which to 'speak' herself. By including the past that her mother is talking about on the sound track, as well as the present on the image track (such as images of her mother's life in the early 1980s, images of intertitles etched into the film emulsion revealing the questions Friedrich asked her mother and her reactions to the things her mother said, as well as images of the filmmaker's visits to historical sites), Friedrich brings the present into the past, and demonstrates how history is, to quote Walter Benjamin, 'time filled with the presence of the now'.

In the dynamic intersection of cognitive enhancement and artistic expression, this article explores the cognitive neuroeffects of modafinil on the cognitive abilities of actors and investigates its potential impact on the inherent cognitive domains crucial to the entertainment industry. Employing a comprehensive experimental approach, professional actors of diverse backgrounds utilized modafinil to uncover its effects on sustained attention, working memory, creativity, emotional recognition, cognitive flexibility, and emotional intelligence. The findings reveal significant improvements in attention accuracy, working memory precision, heightened creative output, emotional recognition acuity, cognitive flexibility, and emotional intelligence within the modafinil group when compared to the placebo. These effects stem from the modulation of neural chemical pathways governing attention, memory, emotional processing, and cognitive flexibility by modafinil. The results affirm modafinil as a cognitive enhancer for actors, optimizing their executive intelligence while heightening ethical considerations and potential challenges. This exploration of modafinil's cognitive effects in the realm of acting contributes valuable insights to cognitive enhancement research and paves the way for the integration of pharmacological interventions in creative professions.

Il doppio matrimonio 1 i lavori attinenti al mondo della clausura (reliquiari, canivet, figure di cera) utilizzano, nei loro aspetti sia cultuali sia estetici, ludici e didattici, il vocabolario della fisiologia femminile, rifacendosi addirittura alla forma del corpo femminile. Sono figure di passaggio: dalla ragazza alla religiosa, dalla società alla clausura, dal funerale alla rinascita simbolica. orbene, coloro che sono realmente nella fase di attraversamento, cioè le novizie, vengono festeggiate ogni anno. Studieremo varie espressioni e modalità di questa festa, ponendoci la seguente domanda: è una sopravvivenza della festa delle convittrici o è proprio l'inverso? in effetti, ognuna sembra avere la propria specificità. Per le novizie, si tratta di una mascherata e non di un'inversione [dei ruoli], che sono due procedure rituali che E. leach ha accuratamente distinto l'una dall'altra. perché questo? perché la festa delle novizie è inseparabile dalla professione religiosa, così com'è inseparabile dalla comunione la festa delle convittrici, in occasione della quale si andava ad interrogare il destino della ragazzina. la nostra ipotesi è che mascherata e cerimonia dei voti siano l'inverso l'una dell'altra e addirittura formino un doppio matrimonio. 2 proponiamo l'idea che il rito della professione inizi con

Although twelve years separate Shoes (Lois Weber, 1916) from La petite marchande d'allumettes (Jean Renoir, 1928), the two medium-length films have much in common. Although the North American director's narrative is based on a realist story and the French director's film is inspired by a fairy tale, both show the female body as an object, one used by progenitors in order to satisfy their material needs and to obtain benefits. They both depict working-class women as submissive recipients of misfortune who assume as natural the circumstances that lead them to illness, prostitution, and death. Through the poetics of the image and the materiality of the suffering body, the two directors concentrate the reflexive core of female exploitation of the body.

Although twelve years separate Shoes (Lois Weber, 1916) from La petite marchande d'allumettes (Jean Renoir, 1928), the two medium-length films have much in common. Although the North American director's narrative is based on a realist story and the French director's film is inspired by a fairy tale, both show the female body as an object, one used by progenitors in order to satisfy their material needs and to obtain benefits. They both depict working-class women as submissive recipients of misfortune who assume as natural the circumstances that lead them to illness, prostitution, and death. Through the poetics of the image and the materiality of the suffering body, the two directors concentrate the reflexive core of female exploitation of the body.

Esta entrevista fue realizada en el contexto del proyecto de investigación FONDECYT nº1211594 de ANID-Chile (2021-2025), cuya Investigadora Responsable es María Paz Peirano. La entrevista fue conducida por Javiera Navarrete, con el apoyo de Diego Gilabert, el 1º y el 27 de septiembre de 2022.

Les damos la bienvenida al coloquio La historia en el cine chileno de ficcion. Durante esta tarde presentaremos resultados preliminares de un estudio que hemos realizado desde hace poco mas de un ano y en el que han participado junto a nosotros los investigadores Eduardo Santa Cruz, Luis Horta, Carolina Larrain, Pablo Aravena, Jose Miguel Santa Cruz, Carolina Kuhlmann y Cristian Ahumada, quienes expondran en las siguientes mesas. El estudio esta patrocinado por el Instituto de la Comunicacion e Imagen de la Universidad de Chile y el Fondo para Investigacion de la Iniciativa Bicentenario Juan Gomez Millas.

El estreno de El realismo socialista puede considerarse el mayor hito cinematográfico de este año. No solo por ser una nueva recuperación de un filme perdido de Raúl Ruiz, a cargo de la productora Poetastros y Valeria Sarmiento, montajista y viuda del cineasta. También porque, en el marco de los 50 años del golpe de Estado, la película trae al presente memorias perdidas del período de la Unidad Popular.

The article deals with the question of indexicality and the nature of cinematic signication drawing upon the terms of Gábor Bódy's lm theory. The trace-like character of cinema is investigated through the medium-specic possibilities of the moving image and the gap inscribed between human perception and the inhumanity of the medium. Both the photographic and the cinematic trace are subject to innite interpretation due to the inaccesibility of the trace as trace and its transformation into a meaningful sign. Instead of minimal units, cinematic language is based on the logic of seriality and can be interpreted on dierent levels of meaning attribution. Serial meaning is emphasized as a site where images can enter in endless relations to each other. Finally, Bódy's theoretical work can be interpreted as a proposal to redene the status of the image in cinematic signication. Bódy's short or experimental lms are used as examples and realizations of his theoretical considerations.

Maya Deren (1917-1961), pioneer of experimental film and founder of the American independent film tradition, was not only an outstanding artist, but also a brilliant film theorist, whose writings are comparable with those of Eisenstein, Vertov, Bazin, or other canonical contributors to modernism (see Nichols 2001: 3-5). But in contrast to her films, most of which are considered masterpieces and are regularly shown in history of film classes and worshipped by contemporary film artists such as David Lynch, Deren's outstanding theoretical work has been forgotten. This is regrettable, since Deren's reflections on film as art-as well as her own practice as a filmmaker-can help to clarify the Real of reality. By drawing on Maurice Merleau-Ponty’s notion of the “Visible” and the “Invisible,” I understand the Real—from a phenomenological point of view—not only as the corporal-consciousness-bound experience of ephem- eral being (supplemented by interferences of technology and media), but also as an experience of essential being; an experience, which may, follow- ing Merleau-Ponty, be enhanced by the production and reception of art (creativity). Based on Rudolf Otto’s notion of the “Numinous” as well as on Mircea Eliade’s understanding of the “Sacred” and the “Profane,” this notion will be extended—from a religio-phenomenological point of view—with references to a transcendent reality usually referred to as the Divine. In her essay Cinema as an Art Form (1946), Deren states: “What is conspic- uously lacking is the development of cinema as an art form” (2005b: 19). Later on, she adds: “When we agree that a work of art is, first of all, creative, we actually mean that it creates a reality and itself constitutes an experience” (22). In the following, I will use both remarks as coordinates which mark the field within which I propose to discuss Deren’s theoretical and practical work. In so doing, I will pay special attention to her argument for a “ritualistic” mode of film, which fuses the Sacred and the Profane for the sake of the Real. In this endeavor, my central points of references will be—on theoretical grounds—Deren’s thrilling contribution to modern film theory, An Anagram of Ideas on Art, Form and Film (1946), as well as the thoroughly written ethnographic study Divine Horsemen: The Living Gods of Haiti (1953) and—on practical grounds—Deren’s highly stylized experimental films At Land (1944), A Study for the Choreography of a Camera (1945), A Ritual in Transfigured time (1946), and A Meditation on Violence (1949). Since the Haitian footage could not been edited by Deren before her early and sudden death in 1961—and she was unable to vouch for the posthumous edition by Teiji Ito, her third husband—I will not address this material directlyIn the following, I will use both remarks as coordinates which mark the field within which I propose to discuss Deren’s theoretical and practical work. In so doing, I will pay special attention to her argument for a “ritualistic” mode of film, which fuses the Sacred and the Profane for the sake of the Real. In this endeavor, my central points of references will be—on theoretical grounds—Deren’s thrilling contribution to modern film theory, An Anagram of Ideas on Art, Form and Film (1946), as well as the thoroughly written ethnographic study Divine Horsemen: The Living Gods of Haiti (1953) and—on practical grounds—Deren’s highly stylized experimental films At Land (1944), A Study for the Choreography of a Camera (1945), A Ritual in Transfigured time (1946), and A Meditation on Violence (1949). Since the Haitian footage could not been edited by Deren before her early and sudden death in 1961—and she was unable to vouch for the posthumous edition by Teiji Ito, her third husband—I will not address this material directly.

This paper analyzes the role of originality and historicity in the 20’s European Avant-garde Cinema configuration. First of all, we do a state-of-the-art knowledge, then we study nearly 300 films from Germany, France and the Soviet Union produced during the Interwar period and, later, some categories of time subversion are created. These categories sum up the time subversion diversity exerted by Avant-garde film against the enlightened time conception. Time is a core point to Avant-garde and its study plus the study of Avant-garde historical development let us know that, finally, originality and historicity are inseparable one from the other in order to understand the complex and elusiveness conceptualization of 20’s Avant-Garde Cinema.

Julian Hochberg and Virginia Brooks argue in "Movies in the Mind's Eye" that the apparent movement of motion pictures should be understood as a mental process described by cognitive theory and gestalt psychology. This argument is a reconfiguration of the traditional, physiological model that makes the motion an effect of ocular physiology. In place of this model, they propose that the movement we see when watching a movie -whether in the form of a film or a video tape -is more than simply the illusion of motion: it is perceptually as real as any other visual motion we perceive. The difference between this motion and other motion resides in its empirical status independent of observation, not in our subjective perception. Their transformation of the conceptualization of "motion pictures" has implications for our understanding of motion in painting. So-called "painterly motion" is historically one of the most important effects employed in old master paintings (and developed in the Modernist period by Cubism and some of its derivatives). Hochberg and Brook's theory about a cognitive basis for film motion is applicable to any form of virtual movement. It provides an account of why we can see "painterly motion." This theory implies a connection between painterly motion and movies that has implications for understanding "avant-garde" film and video. It also suggests a type of kinetic art heretofore unknown.

This essay attempts to move beyond C.P. Snow's reductive formulation of the two cultures, positing a third culture forged out of the collision of science documentary television with the avant-garde traditions of the cinema. In particular, I use both scientific and humanistic understandings of memory to compare and contrast a science television program, "Understanding the Mysteries of Memory" (Science Channel, 2002) with an avant-garde film, Report (Bruce Conner, 1967).

This article argues that Su Friedrich's 1984 film The Ties That Bind employs what were at the time atypical forms and techniques to push the limits of the traditional historical documentary. Its aesthetic experimentation helps to redefine the idea of historical representation in film, and does so mainly by treating evidence as both partial (in both senses of the word) and contingent, offering a radical challenge to normative history and destabilizing the notion of history as authority. Unlike conventional documentaries, the film marks its own limitations: its inability to provide stable answers or eternal certainties. Questioning her mother's spoken memories, and commenting on them, Friedrich forces a rupture in the 'evidence' of history and establishes a place in which to 'speak' herself. By including the past that her mother is talking about on the sound track, as well as the present on the image track (such as images of her mother's life in the early 1980s, images of intertitles etched into the film emulsion revealing the questions Friedrich asked her mother and her reactions to the things her mother said, as well as images of the filmmaker's visits to historical sites), Friedrich brings the present into the past, and demonstrates how history is, to quote Walter Benjamin, 'time filled with the presence of the now'.

The article investigates two seemingly conflicting critical approaches of haptic and transgressive cinema, which emerged along with the corporeal turn in film studies, in the late 1990s and early 2000s. While haptics operates with undistinguishable figures and demands extreme closeness and an active caressing gaze, transgression is usually seen from a distance and subverts the social, political and ethical order. The paper attempts an examination of the Austrian avant-garde filmmaker Kurt Kren's Actionist films and enlightens how these two opposing strategies can be present together. Giving a detailed analysis of the films, the article describes an expanded definition of Linda Williams's body genres, in order to create a new category of horror: the horror of materiality.

Desde una perspectiva teórica cercana al giro afectivo, estas páginas se proponen reflexionar sobre la construcción de la esperanza en parte del cine de la Unidad Popular chilena durante los primeros meses del gobierno de Salvador Allende. No se revisan en profundidad filmes sobre los que se ha dicho todo, sino que se rastrea en algunos lo que se da en llamar la imagen-esperanza. Para ello, se eligen tres filmes cuya única nota común es corresponderse de modos diversos con una suerte de «año cero»: El primer año de Patricio Guzmán (1972), Voto + fusil de Helvio Soto (1971), y Palomita blanca de Raúl Ruiz, terminada en 1973 antes del golpe de Estado, y reeditada y estrenada en 1992. En los tres, es posible tematizar una esperanza que parece plantear más interrogantes que opciones tranquilizadoras aun cuando, como decía Guzmán en el diario de filmación de El primer año, «Chile era una fiesta».

Este artigo analisa o filme Decasia: the state of decay, de Bill Morrison, com o propósito de perceber de que maneira o informe pode ser pensado como desarticulação do tempo a partir da apropriação de imagens deterioradas, fragmentadas. Busca-se, assim, pesquisar um cinema cuja duração é a de uma memória que não se prende a um ponto determinado no tempo, mas desmorona a partir do dilaceramento que provoca em si mesma, ao afirmar a precariedade que a mantém.

Varolusculuk, ileri seviyede dusunebilme yetisine sahip olan insanin kendi kendini olusturma duyarliligidir. Her dusunce sisteminde oldugu gibi varolusculugun temelinde de kitlesel yasanmislik soz konusudur. Yirminci yuzyilin savaslarla gecen ilk yarisinin kaotik yapisi, bireyleri toplumun genelinden farkli dusunebilen birey insalarina itmistir. Savas donemlerinde yasanan buyuk bunalimlar ve ekonomik krizler gelecek kaygilarina neden olmustur. Bu durum gundelik yasami etkiledigi gibi basta felsefe, edebiyat ve sinema olmak uzere sanatta da karsiligini bulmustur. Varolusun genel kabullerden ve toplumsal geleneklerden kopus oldugu dusunulurse varoluscu sinemanin yasanmisliklari temel aldigi ve ana akim sinemadan uzak bir yapida oldugunu soylenebilir. Turk Sinemasi’nin son yillardaki auteur yonetmenlerinden Zeki Demirkubuz genclik yillarinda yasamis oldugu tecrubeleri sanatina aktaran isimlerden biridir. Sinemasinin temelinde toplumsal deger ve kabullerden kopmus bireylerin ozlerini ar...

O presente artigo tem como finalidade apresentar a evolução da EAD por meio das tecnologias e como elas contribuirão para evolução desta modalidade de ensino. Em paralelo a este relato, será construída uma análise das técnicas mediadoras utilizadas pelos professores em cada uma das tecnologias apresentadas. Assim, o artigo propõe apresentar a contribuição de cada tecnologia para construção da identidade da EAD.

Screen Space Reconfigured is the first edited volume that critically and theoretically examines the many novel renderings of space brought to us by 21st century screens. Exploring key cases such as post-perspectival space, 3D, vertical framing, haptics, and layering, this volume takes stock of emerging forms of screen space and spatialities as they move from the margins to the centre of contemporary media practice. Recent years have seen a marked scholarly interest in spatial dimensions and conceptions of moving image culture, with some theorists claiming that a 'spatial turn' has taken place in media studies and screen practices alike. Yet this is the first book-length study dedicated to on-screen spatiality as such. Spanning mainstream cinema, experimental film, video art, mobile screens, and stadium entertainment, the volume includes contributions from such acclaimed authors as Giuliana Bruno and Tom Gunning as well as a younger generation of scholars.

La dénommée nouvelle vague Japonaise, comme la nouv elle vague Française et d’autres « cinémas nationaux », a contribué à exerc er le renouvellement du langage cinématographique dans les années soixante et soixa nte-dix. Cependant, le cas japonais est spécialement intéressant parce qu’il s era parfois simultané à ses homologues européens et parfois pionner dans le dév loppement de pratiques avantgardistes.

Punkt wyjścia artykułu stanowią wczesne teksty muzykolożki, Zofii Lissy, skupione wokół nieanalizowanej szerzej przez komentatorów jej prac problematyki wizualizacji muzyki. Opisywane wrażenia percepcyjne uznaje badaczka za wspólny wszystkim odbiorcom sposób przestrzennego doświadczania utworów muzycznych. Opisy Lissy zestawiane są w artykule z dzisiejszymi ustaleniami z zakresu neuronauki; analizuje się je w świetle badań nad doświadczeniami synestezyjnymi oraz użyciem metaforyki pseudosynestezyjnej. Druga część szkicu poświęcona jest deskrypcji artefaktów opartych m.in. na wizualizacji muzyki – pomysły badawcze muzykolożki konfrontowane są tu z praktyką artystyczną w dziedzinie szczególnie interesującego Lissę filmu awangardowego (The Eye and the Ear Franciszki i Stefana Themersonów) oraz mniej przez nią cenionych (w kontekście związków z muzyką) „statycznych dzieł artystycznych sfery wzrokowej” (ilustracje Marty Ignerskiej do tekstu Anny Czerwińskiej-Rydel w książce Wszystko gra).

New York City is perhaps the most iconic manifestation of urbanity in the 20 th century. While the Manhattan skyline dominates the New York imaginary American cinema has also consistently qualified and complicated this architecturally-determined perspective by re-imagining the city in ecological terms. Over the past half-century many films set and largely produced in New York have deployed the imagery and metaphoricity of ecology to articulate urbanity, although in two distinct ways. We begin by tracing what we call an 'urban teleology' in which filmmakers re-envision the city in terms of the environmental conceits of wilderness and garden but from ideologically normative perspectives that privilege the managed urban sphere as the epitome of sociality. In contrast to this teleological model are cinematic experimentations that 're-inhabit' urban space by foregrounding New York's 'urban ecology'. As such the second part of our article is concerned with how certain modes of cinema can reorient or 'queer' notions of urbanity through the critical lens of ecology, thus cinematically 'greening' the city. 1 We mobilise the practice of ecocritique to interrogate both reified and more radical figurations of 'nature' in cinema. Timothy Morton employs this method as a critical discourse that confronts the hegemony of 'nature' as a fraught ideological concept that 'is a transcendentalist term in a material mask…a Pandora's box [that] encapsulates a potentially infinite series of fantasy objects'. 2 The focus of this article-on urban space as ecologically-implicated-also challenges many eco-centric perspectives that posit humanity as opposed to nature. 3 Andrew Biro calls for 'a way of understanding ourselves as both beings who are within (or a part of) nature,

Fil: Zylberman, Lior Alejandro. Universidad Nacional de Tres de Febrero. Centro de Estudios Sobre Genocidio; Argentina. Universidad de Buenos Aires. Facultad de Arquitectura y Urbanismo; Argentina. Consejo Nacional de Investigaciones Cientificas y Tecnicas; Argentina

Abigail Child (b. 1948) has been making films for over twenty years. She is also a poet-the kind of poet who gives one the impression that she listens for fragments. In truth she listens, and samples, but the fragments are just as often her own. She has an exquisite ear for rhythms and meanings. Just as her ears are sensitive, her eyes are sharp and subtle. She uses repetition and variation as honed tools of a precise montage, a montage that is attuned to intervallic structures and associative irony. She is a postmodern constructivist, with new angles on the ways in which words and images come together to make meaning. She is a semiotic poet of the fragment, a gatherer of treasured shards. Her films are like her poetry, a distilled collection of images and sounds. This essay will provide an overview of Child's development as an artist. Her film work is not directly autobiographical, nor her poetry lyrical or confessional, even to the extent that one finds personal revelation in Yvonne Rainer's MURDER and murder (1996). One of the striking aspects of her films, poetry, and critical writing is her bold look at sexuality and female desire. Her journeys with desire call for a theoretically informed close reading/viewing of the films to understand how this creative feminist engages with both the history of film and art making in general. For Abigail Child is a feminist, as well as being politically engaged in everyday life on the Left. Here again, though, direct expression of her

One could say that a picture is worth a thousand words. In fact, it’s been said so many times that those seven words in sequence—whatever they’re worth—have accrued enough saying to be called a saying. As if everything but the physical act of their phonetic production had worn away from some prior, proper, or possible task of meaning. A saying about the value of a picture: How better to state the inflationary poverty of saying as such?

Conclusion: 'Inconsolable Memory' So a nebulous mass, seen through more and more powerful telescopes reveals itself into an ever greater number of stars. (Bergson 1991, 166) J'ai désiré avoir une inconsolable mémoire (I wanted to have an inconsolable memory).

This artwork is a still from "59," an experimental film installation I created with the following restrictions: I had to direct eleven 59-second films in eleven months with eleven collaborating artists, none of whom could be cis men.In the resulting project, we used film and those eleven short moments to capture our unique, fragile experiences. We explored everything from the way in which facets of personality drift in and out of the subconscious to the beautiful, mercurial nature of gender. Author/Artist Bio H. Leslie Foster II is an urban nomad. Born in Singapore to American parents in October, 1984, he experienced his first plane flight 6 months later and has not stopped traveling since. Raised in Indonesia, Michigan, the Philippines, and Thailand, Leslie gained a unique aesthetic sensibility. After studying biology in Thailand and German in Austria and Germany, Leslie completed a film production B.S. and a International Studies B.A. at Southern Adventist University in Chattanooga, Tennessee. Over his career, Leslie has shot music videos in Serbia and Poland, written a script a day for an entire year, started a non-profit film production company, spent 5 weeks undercover in Jamaica shooting a documentary about violent homophobia, and braved an Austrian blizzard or two. In 2013, Leslie began to combine his more experimental film sensibilities with installation art and has been a part of several group shows. He and his collective, Nomad Solstice, had their first solo show, a five film series entitled "Ritual Cycle," in February, 2016. His second show, "59," created with 11 other collaborating artists, debuted in May, 2017.

In this work, we address the problem of having an accurate colorimetric characterization of a scanner for traditional positive film in order to guarantee the accuracy of the color information during the digitization of a movie. The scanning of a positive film is not an usual task, however it can happen for cultural heritage purpose. Art-movies, are often created and stored as positive-film in museums. One of the problems one can face for a colorimetric characterization is to have a reasonable number of measurements from an item. In this work we succeeded in having a reasonable accuracy with just a few number of measurement (typically 4 to 7 ∆E * ab units with 2 to less than 10 measurements).

Beyonce calls Lemonade a “visual album.” There’s been buzz about the image of Beyonce smashing up cars, and a lot of talk about the autobiographical themes of the lyrics (lines like “better call Becky with the good hair” have been getting attention for the way they call out Jay Z’s mistress). But this 65-minute film’s songs, text and sound design haven’t been talked about in relation to its images. Lemonade’s unusual form—a long-play music video—gives it the capacity to draw connections between the personal pain of infidelity and America’s terrible history of racism. Twelve video clips are linked by brief passages comprised of poetry, visual tableaux and sound collage. These interludes lean toward avant-garde aesthetics. One thing avant garde aesthetics and music video share is the capacity to hold several vantage points in suspension. In Lemonade this capacity allows the work to embody opposites: love and hate, engagement and alienation, forgiveness and revenge.

Travis Wilkerson's experimental documentary, An Injury to One (2002), about the Anaconda Mining Company of Butte, MT, and its orchestration of the 1917 murder of Frank Little, a Wobblie organizer, has been well-received by film critics. The criticism of the film has properly centered on Wilkerson's combination of Marxist politics and minimalist aesthetic beauty. Writing for The Village Voice, for example, Ed Halter argues that the film is "a deft, ambitious exercise in old-school socialist agitprop crafted with the precise multimedia flair of a corporate PowerPoint presentation." This essay proposes to read An Injury to One in a larger cultural historical context to tease out the specific combination of aesthetics and politics which gives the film its remarkable power. My reading will activate the film's relationship to three primary intertexts that span historical, national, and textual boundaries: a fiction film (Salt of the Earth), a play (The Threepenny Opera), and a novel (Red Harvest). Given the film's engagement with American brutality toward organizing miners, An Injury to One can be profitably compared to Salt of the Earth, blacklisted director Herbert Biberman's 1953 film about a mill-miner union's successful strike in New Mexico. Such an intertextual encounter brings to light the relationship between McCarthyite America (Biberman's pro-union film was denied both production technicians and projection by right-wing Roy Brewer's IATSE union) and contemporary America (Wilkerson struggles to find funding and distribution in a political climate in which anyone discussing class politics is seen as some sort of Marxist dinosaur).

CORE View metadata, citation and similar papers at core.ac.uk provided by OpenSIUC "With Eyes Upside Down, Can We Still Read?" I. Introduction In his new book, Eyes Upside Down (2008), the dean of American avant-garde film studies, P. Adams Sitney, details the Emersonian tradition implicit in the major postwar experimental filmmakers-Marie Menken, Stan Brakhage, Hollis Frampton, among them-to whom he has devoted his life's work. Even though Sitney's earlier masterpiece, Visionary Film (1974, 2002), clearly emerged from his literary training in Romanticism under Harold Bloom in the 1960s, the new book's aggressive literary turn is remarkable. When I first looked at the table of contents for Eyes Upside Down, devoted to the same individual avant-garde filmmakers as Visionary Film, I assumed it was merely a re-packaging of Sitney's basic mantra of radical individualism, that the 1960s avant-garde cinema represented the best of American filmmaking, so different from Hollywood because its filmmakers were devoted to using the camera in eclectic, highly personal ways. However, Sitney's new book is so much more than that, connecting a wide array of twentieth-century experimentalism, from Brakhage in film and John Cage in music to their nineteenth-century Romantic literary counterparts, from the essays of Emerson and Thoreau to the anti-Transcendentalism of Herman Melville. As an interdisciplinary scholar interested in as wide a relationship between film and literature as can be imagined, I believe the publication of Sitney's new book could represent the beginning of a new sub-discipline in the field of adaptation studies, which we might call experimental adaptation studies. It is the project of this essay to sketch some possibilities for such a sub-discipline. 1 At first glance, such an endeavor seems like pure folly. As opposed to the commercial filmmaking in Hollywood, and other national cinemas as well for that matter (say, France in the 1930s), there is no commitment to either theatrical or literary source texts in the avant-garde tradition. Indeed, many experimental films are built upon a deliberately non-literary base, such as Fernand Léger's Ballet mécanique (1924), a non-narrative visual exploration of the geometric shapes of modernity. It is as un-literary a mode of filmmaking as one can imagine. And yet, the ground broken by Eyes Upside Down suggests that the literary culture undergirding the experimental film tradition in the United States is provocatively complex. Sitney gives us one possibility for thinking about literature and its relationship to avant-garde cinema, a cultural historical approach in which the literary soil of Emersonian Transcendentalism comes to fruition in post-World War II experimental filmmaking. However, Sitney is no adaptation studies scholar, and his approach is not interested in mining the intertextual relationships between the different artistic forms that are literature and cinema. If one seeks them out, it becomes clear that experimental cinema's sources lie in literary culture more often than we might have thought. In this essay, I will explore three possibilities for thinking differently about the relationship between literature and experimental cinema. First, I will examine

This essay attempts to move beyond C.P. Snow's reductive formulation of the two cultures, positing a third culture forged out of the collision of science documentary television with the avant-garde traditions of the cinema. In particular, I use both scientific and humanistic understandings of memory to compare and contrast a science television program, "Understanding the Mysteries of Memory" (Science Channel, 2002) with an avant-garde film, Report (Bruce Conner, 1967).

O presente artigo sustenta a hipótese que Siegfried Kracauer identifica em seus primeiros escritos sobre a história do cinema aspectos que estarão presentes na linguagem do cinema moderno. Analisando filmes de Pudovkin, Gance e Vigo na série Revendo Filmes Antigos (Wiedersehen mit alten Filmen, 1938-1940), Kracauer discute a persistência do simbolismo e atmosfera no auge e declínio do cinema silencioso, com a técnica da montagem; na primeira infância do sonoro, nos diálogos e na narração; e na síntese formal que alcança a partir da relação que estabelecem com os personagens. Trata-se, em conjunto, de uma escrita da história pluridimensional, que interpreta os filmes antigos em relação ao passado, ao presente e ao futuro não apenas dos filmes, mas do próprio cinema e do historiador que a eles se dedica à época da formação do cinema moderno.