Experimental film

Experimental film, avant-garde cinema, artists' film

Pages

• 25 FPS Festival
• L'Abominable
• Academic Film Center Belgrade
• Academic Photo Cinema Club Sarajevo
• Albert Alcoz
• Alternative Film & Video Festival Belgrade
• Amateur cinema clubs in Yugoslavia
• Kenneth Anger
• Antifilm
• April Meetings
• Martin Arnold
• Arsenal
• Ute Aurand
• Avant-Garde Film Festival
• Avantgarde ist keine Strömung
• Jeffrey Babcock
• Erika Balsom
• Balázs Béla Studio
• Rosa Barba
• Petra Belc
• Belgrade Cinema Club
• Mirna Belina
• Black Wave
• Martin Blažíček
• Gábor Bódy
• Vane Bor
• Jerzy Bossak
• Martijn van Boven
• Stan Brakhage
• Michał Brzeziński
• Igor and Ivan Buharov
• Bulšitfilm
• Luis Buñuel
• Ben Caldwell
• Eugeniusz Cękalski
• Shu Lea Cheang
• Pip Chodorov
• Radúz Činčera
• Bruce Conner
• Tony Conrad
• Florian Cramer
• Vivienne Dick
• Distruktur
• Vukica Đilas
• Irena and Karel Dodal
• Germaine Dulac
• Lloyd Dunn
• Ľubomír Ďurček
• Viking Eggeling
• Miklós Erdély
• L'Etna
• Birgit and Wilhelm Hein
• Exprmntl
• Film Authors Studio
• Film Form Workshop
• Film Video Informació
• Coleen Fitzgibbon
• Aleksander Ford
• Péter Forgács
• Hollis Frampton
• Alberto Frigo
• Ivan Ladislav Galeta
• GEFF
• György Gerő
• Peter Gidal
• Karpo Godina
• Tomislav Gotovac
• Ion Grigorescu
• Alexandr Hackenschmied
• Nicky Hamlyn
• Barbara Hammer
• Han Okhi
• Dušan Hanák
• Vladimír Havrilla
• Narcisa Hirsch
• Stanislav Hora
• Mako Idemitsu
• Image Forum Festival
• Tatjana Ivančić
• Leandro Katz
• Kinema Ikon
• Kinoautomat
• Željko Kipke
• Klubvizija
• Vladimír Kordoš
• Kurt Kren
• Peter Kubelka
• LaborBerlin
• David Lamelas
• Wolfgang Lehmann
• Jiří Lehovec
• Maurice Lemaître
• Jay Leyda
• Lichtblick-Kino
• Light Cone
• Rose Lowder
• London Film-Makers' Co-op
• Claus Löser
• Sergiu Lupse
• Irene Lusztig
• Jaroslav Mackerle
• MAFAF
• Dušan Marek
• Gregory Markopoulos
• Ivan Martinac
• Ivica Matić
• Dóra Maurer
• Martin Mazanec
• Anthony McCall
• Jonas Mekas
• Metamkine
• Mikhail Kaufman
• Sarah Minter
• Mire
• Rikuro Miyai
• András Monory-Mész
• Mostra del Cinema di Genova
• Werner Nekes
• Gunvor Nelson
• New Arts Laboratory
• No.w.here
• Doireann O'Malley
• Open Form
• Pan 69
• Mihovil Pansini
• Rotraut Pape
• Parallel Cinema
• Paul Sharits
• Živojin Pavlović
• Andrzej Pawlowski
• Jacques Perconte
• Vladimir Petek
• Sylva Poláková
• William Raban
• Yvonne Rainer
• Margaret Raspé
• Man Ray
• Jürgen Reble
• Joost Rekveld
• Hans Richter
• Mirosław Rogala
• Barbara Rubin
• Walter Ruttmann
• Zbigniew Rybczyński
• SAF
• Sarajevo Cinema Club
• Sylvia Schedelbauer
• Carolee Schneemann
• Scratch Expanded
• Sector 16
• Esfir Shub
• Sigma
• Petr Skala
• ŠKUC
• Jack Smith
• Michael Snow
• Split Cinema Club
• Start
• Studio één
• Super 8 Picnic in a Hand
• Elizaveta Svilova
• Daniela Swarowsky
• Gyula Száva
• András Szirtes
• Ivan Tatíček
• The Word of the Young Cinema Club
• Franciszka and Stefan Themerson
• Think:Film
• This Is All Film! Experimental Film in Yugoslavia 1951-1991
• Tree Lab
• Teresa Tyszkiewicz
• UbuWeb
• Stan VanDerBeek
• Otakar Vávra
• Dziga Vertov
• Andy Warhol
• Ryszard Waśko
• Peter Weibel
• František Wirth
• WORM.Filmwerkplaats
• Lordan Zafranović
• Zagreb Cinema Club
• Jerzy Zarzynski
• ZebraLab
• Zero Jigen

Resources

• UbuWeb: Film & Video, an excellent archive of experimental film and video.
• Electronic Arts Intermix, a resource for video and media art, founded in 1971.
• LuxOnline, a web resource for exploring British based artists’ film and video in-depth.
  • The Luxonline Histories lists key events, places, people and exhibitions which have contextualised and contributed to the development of artists' film and video from the past century to the current day.
• Avant-Garde Film Index lists films, archival collections and references for selected filmmakers.
• Visionary Film: Avant-Garde Cinema / Experimental Film, a web resource founded in 2006.
• The iotaCenter, a resource on visual music, founded in 1994.
• Center for Visual Music.
• Moving Image Source's Research Guide on Experimental and Avant-garde
• Experimental Cinema, a news and resources on experimental film.
• Artists, Amateurs, Alternative Spaces: Experimental Cinema in Eastern Europe, 1960–1990, eds. Joanna Raczynska and Ksenya Gurshtein, Washington, DC: National Gallery of Art, 2014.
• Flicker provides links to sites about contemporary and historical experimental cinema.
• cinovid, database for experimental film and video art. Discontinued in 2014.
• No Wave and Independent Film , An Exhibition of Photographs and Ephemera, by Marc H. Miller, 2013. [1]
• more.

Publications

Publications by & about individual filmmakers are listed on their respective pages.

Journals, magazines

• Kinofon: revija za filmsku kulturu, 12 numbers, eds. Branko Ve Poljanski and Dragan Aleksić, Zagreb, 1921-1922. (Croatian)
• Kino-fot: zhurnal kinematografii i fotografii, 6 numbers, ed. Aleksei Gan, Moscow: Aleksei Gan, 1922-1923. (Russian)
• L'Art cinématographique, 8 numbers, Paris: Félix Alcan, 1926-1931. (French)
• Close Up, ed. Kenneth Macpherson, Territet/CH (1927-30) and London (1928-33): Pool, 1927-1933. Monthly (1927-30), quarterly (1931-33). (English)
• Experimental Cinema, Philadelphia, PA: Cinema Crafters of America, 1930-34. Monthly.
• Mouvement: cinématographie, littérature, musique, publicité, 3 numbers, ed. Maurice Aubergé, 1933. (French)
• Ekran: měsíčník pro moderní film a fotografii, 1 issue, ed. František Kalivoda, Brno: Vladislav Binder, 1934. (Czech),(German)
• f.a. [Art Film], eds. Franciszka and Stefan Themerson, 1937-?. Journal of the SAF co-operative.
• Film Culture, New York, 1955-1996.
  • Film Culture Reader, ed. P. Adams Sitney, New York: Praeger, 1970, viii+438 pp; repr., New York: Cooper Square Press, 2000.
  • UbuWeb, Anthology Film Archives (eds.), "Selections from Film Culture Magazine, 1955-1996", n.d.
• Cinim, 3 issues, 1967-1969.
• Jump Cut: A Review of Contemporary Media, 56+ issues, eds. John Hess, Chuck Kleinhans and Julia Lesage, since 1974.
• Millennium Film Journal, eds. Grahame Weinbren and Kenneth White, since 1978. Published biannually.
• Underground Film Journal.
• L'ébouillanté, 15 numbers, 1995-1999. Zine published by artist-run film labs. (French)
• Found Footage Magazine, since 2015. [2] (Spanish),(English)
• Los Experimentos, Buenos Aires, since 2022. Web magazine devoted to Latin American cinema, and experimental cinema from Latin America. (Spanish)

• more, more.

Exhibition catalogues and brochures

• A History of the American Avant-garde Cinema: A Film Exhibition, New York: American Federation of Arts, 1976, 176 pp. (English)

• Birgit Hein, Wulf Herzogenrath (eds.), Film als Film: 1910 bis heute: vom Animationsfilm der zwanziger zum Filmenvironment der siebziger Jahre, Cologne: Kölnischer Kunstverein, 1977, 268 pp. Exh. catalogue. (German)
  • Film as Film: Formal Experiment in Film, 1910-1975, London: Arts Council of Great Britain, 1979, 152 pp. (English)

• Dominique Noguez, Trente ans de cinéma expérimental en France, 1950-1980, Paris: A.R.C.E.F., 1982, 117 pp. [3] (French)

• Eugeni Bonet, Manuel Palacio (eds.), Practica Filmica y Vanguardia Artistica en Espana / The Avant-garde Film in Spain: 1925-1981, Madrid: Universidad Complutense de Madrid, 1983. (Spanish)

• Judit Lorányi, Miklós Peternák (eds.), Film/művészet: a magyar kisérleti film története, Budapest: Budapest Galéria, 1983, 56 pp. (Hungarian)

• Prosper Hillairet, Christian Lebrat, Patrice Rollet, Paris vu par le cinéma d'avant-garde (1923-1983), Paris: Paris expérimental, 1985. [4] (French)

• Paul de Mol, Nelly Voorhuis (eds.), Het Experiment in de Nederlandse Film, Amsterdam: Stedelijk Museum Amsterdam, 1985. (Dutch)

• David Schwartz (ed.), Independent America: New Film 1978-1988, New York: American Museum of the Moving Image, 1988, 93 pp. (English)

• Środek Europy. Awangardowe kino i sztuka video z Austrii, Czecho-Słowacji, Polski i Węgier, ed. Ryszard W. Kluszczynski, Warsaw: Centre for Contemporary Art, Ujazdowski Castle, 1991, 80 pp. Exh. cat. Texts: Ryszard W. Kluszczyński, Peter Tscherkassky, Gerda Lampalzer, Jozef Macko, Miklós Peternák. Exh. held at CSW Warsaw, 15-21 Apr 1991. Documents. (Polish)

• Eugeni Bonet (ed.), Desmontaje: film, vídeo/apropiación, reciclaje, IVAM, 1993. Introduction and Bonet's essay, Screening programme, [5]. (Spanish)

• Gerald O’Grady, Bruce Posner (eds.), Articulated Light: The Emergence of Abstract Film in America, Cambridge, MA: Harvard Film Archive, and New York: Anthology Film Archives, 1995, 16 pp. (English)

• Yann Beauvais, Jean-Michel Bouhours (eds.), Monter/Sampler: L'échantillonnage généralisé, Paris: Centre Pompidou, 2000, 160 pp. (French)

• Nicole Brenez, Christian Lebrat (eds.), Jeune, dure et pure! Une histoire du cinéma d'avant-garde et expérimental en France, Paris: Cinémathèque française, and Milan: Mazzotta, 2001, 591 pp. English trans. of Introduction. [6] (French)

• Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative and British Avant-Garde Film 1966-1976, London: LUX, 2002. (English)

• Gerda J. Cammaer (ed.), Changing Times, Time Changes: Canadian Experimental Films and Videos of the 1990s, forew. Ingrid Jenkner, Halifax, N.S.: Mount Saint Vincent University Art Gallery, 2002, 35 pp, IA. [7] (English)

• Gerda Cammaer (ed.), Placing Spaces, Spacing Places: Canadian Experimental Films & Videos of the 1990s, Halifax, N.S.: Mount Saint Vincent University Art Gallery, 2003, IA. (English)

• Jean-Michel Bouhours, Bruce Posner, Isabelle Ribadeau Dumas (eds.), En Marge de Hollywood, la première avant-garde cinématographique américaine, 1893-1941, Paris: Centre Georges-Pompidou, 2003. (French)

• Carolina López (ed.), Xcèntric: 45 películas contra dirección, Barcelona: CCCB, 2006, 176 pp. [8] (Spanish)

• Mike Sperlinger, Ian White (eds.), Kinomuseum. Towards an Artist's Cinema, Cologne: Walther König, 2008, 176 pp. Exh. catalogue for screening series curated by Ian White. [9] [10]

• Esther Schlicht, Max Hollein (eds.), Zelluloid: Camera Less Film / Celluloid: Film ohne Kamera, Frankfurt: Schirn Kunsthalle, 2010. (English)/(German)

• Anna Abrahams, Claartje Opdam, Mariska Graveland, film3 [‘kju:bIk fIlm], Amsterdam: EYE Film Institute Netherlands & Amsterdam University Press, 2010, 390 pp. [11] (English)/(Dutch)

• Ana Janevski (ed.), As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s, Warsaw: Museum of Modern Art, 2010. (English)

• Bojana Piškur, et al. (eds.), This Is All Film: Experimental Film in Yugoslavia 1951-1991 / Vse to je film: Eksperimentalni film v Jugoslaviji 1951-1991, Ljubljana: Museum of Modern Art, 2010, 154 pp. (English)/(Slovenian)

• Alina Ignatova (ed.), Expanded Cinema / Расширенное кино, Moscow: MediaArtLab, 2011. (English)/(Russian)

• Alina Streltsova (ed.), Expanded Cinema 2. Imersions: Towards the Tactile Cinema / Расширенное кино — 2, Moscow: MediaArtLab, 2012, 148 pp. (English)/(Russian)

• Bruno Di Marino, Marco Meneguzzo, Andrea La Porta (eds.), Lo sguardo espanso. Cinema d'artista italiano 1912-2012, Silvana Editoriale, 2012. (Italian)

• Susanne Pfeffer (ed.), You Killed Me First: The Cinema of Transgression, Berlin: KW Institute of Contemporary Art, and Cologne: Walther Konig, 2012. (English)/(German)

• François Bovier, Balthazar Lovay, Sylvain Menétrey, Dan Solbach (eds.), Film Implosion! Experimental Cinema in Switzerland, Berlin: Revolver, 2017, 150 pp. [12] [13] [14] (German)/(French)

Anthologies

• Peter Gidal (ed.), Structural Film Anthology, London: British Film Institute, 1976.

• P. Adams Sitney (ed.), The Avant-garde Film: A Reader of Theory and Criticism, New York: New York University Press, 1978. Contains the often-hard-to-find theoretical writings of experimental filmmakers, beginning in France in the 1920s and continuing internationally through the 1970s.

• Raffaele Milani (ed.), Il cinema underground americano, Messina Firenze: D'Anna, 1978, 190 pp. (Italian)

• Paul Hammond (ed.), The Shadow and Its Shadow: Surrealist Writings on the Cinema, trans. & intro. Paul Hammond, London: British Film Institute, 1978; 2nd ed., Edinburgh: Polygon, 1991; 3rd ed., rev. & exp., San Francisco: City Lights, 2000, 225 pp. (English)

• Norio Nishijima (ed.), Firumu wākushoppu [フィルム ワークショップ], Tokyo: Dagereo Shuppan, 1983, 222 pp. (Japanese)

• Jaroslav Andjel, Ljubica Stanivuk (eds.), Teorija česke avangarde 1908-1937, Belgrade: Institut za film, 1987, 86 pp. (Serbo-Croatian)

• Miklós Peternák (ed.), F.I.L.M. A magyar avant-garde film története és dokumentumai, Budapest: Képzőművészeti Kiadó, 1991, 351 pp. (Hungarian)

• Scott MacDonald (ed.), Screen Writings: Scripts and Texts by Independent Filmmakers, University of California Press, 1995, 352 pp. Publisher.

• Wheeler Winston-Dixon, Gwendolyn Audrey Foster (eds.), Experimental Cinema: The Film Reader, London and New York: Routledge, 2002, 356 pp. Covers the field of experimental and avant-garde cinema from the 1920s onward, concentrating on movements and varied key figures, with a concentration on issues such as gender, sexuality, and race, as well as the impact of technological innovation. Review: Rees (Screen).

• Ulrich Wegenast (ed.), Kunst und Film. Texte zum künstlerischen Film, Dresden: PHILO Fine Arts, 2002, 288 pp. (German)

• Jackie Hatfield (ed.), Experimental Film and Video: An Anthology, forew. Sean Cubitt and Al Rees, Eastleigh: John Libbey, 2006, 302 pp. 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. [15] [16]

• Patrícia Mourão, Theo Duarte (eds.), Cinema estrutural, Rio de Janeiro: Aroeira, 2015, 228 pp. (Brazilian Portuguese)

• Ann Adachi-Tasch, Go Hirasawa, Julian Ross (eds.), Japanese Expanded Cinema and Intermedia: Critical Texts of the 1960s, intro. Julian Ross, Berlin: Archive Books, 2020, 222 pp. Introduction. Publisher. Editors. Reviews: Pires (CAA), Gómez (Hyperallergic), Macfarlane (Brooklyn Rail).

Monographs, edited books

1940s-1960s

Maya Deren, An Anagram of Ideas on Art, Form and Film, 1946, Log, PDF.

Stan Brakhage, Metaphors on Vision, 1963, Log, PDF.

Sheldon Renan, An Introduction to the American Underground Film, 1967, IA.

• Maya Deren, An Anagram of Ideas on Art, Form and Film, Yonkers, NY: Alicat Book Shop Press, 1946, 52 pp; repr. in Deren, The Art of Cinema: Selected Essays, forew. George Amberg, New York: Arno Press, 1972, 104 pp; repr. in Deren, The Legend of Maya Deren: A Documentary Biography and Collected Works, v. 1, part 2: Chambers (1942-47), New York: Anthology Film Archives/Film Culture, 1988. The 1972 reprint also contains her essay "Cinematography: the Creative Use of Reality".
  • trans., in Deren, Écrits sur l'art et le cinéma, trans. Éric Alloi and Julie Beaulieu, Paris: Paris expérimental, 2004, 120 pp. Also contains a translation of "The Creative Use of Cinematography as the Reality" (1960). [17] [18] (French)
  • trans., in Deren, Choregraphie für eine Kamera. Schriften zum Film, eds. Jutta Hercher, Ute Holl, Kathrin Reichel, Kira Stein and Petra Wolff, trans. Susanne Amatosero, Ute Holl and Christine Noll-Brinckmann, Hamburg: Material-Verlag, 1995. (German)
  • trans., in Deren, El universo dereniano: textos fundamentales de la cineasta Maya Deren, intro., ed. & trans. Carolina Martínez López, Cuenca: Servicio de Publicaciones de la Universidad de Castilla-La Mancha, 2015. (Spanish)
  • trans., in Deren, Ma ya.de lun lun dian ying [玛雅.德伦论电影], Chang chun: Ji lin chu ban ji tuan, 2015. (Chinese)

• Frank Stauffacher (ed.), Art in Cinema: A Symposium on the Avantgarde Film, Together with Program Notes and References for Series One of Art in Cinema, San Francisco: Art in Cinema Society: San Francisco Museum of Art, 1947, 104 pp; repr., New York: Arno Press, 1968, 104 pp. [19]

• Roger Manvell (ed.), Experiment in the Film, London: Grey Walls Press, 1949, 285 pp.

• Peter Weiss, Avantgardefilm, Stockholm: Wahlström & Widstrand, 1956, 147 pp. [20] (Swedish)
  • Avantgarde Film, trans. Beat Mazenauer, Frankfurt am Main: Suhrkamp, 1995, 207 pp. (German)

• Stan Brakhage, Metaphors on Vision, ed. & intro. P. Adams Sitney, Film Culture, 1963.

• Sheldon Renan, An Introduction to the American Underground Film, New York: Dutton, 1967, 318 pp; 2nd ed. as The Underground Film: an Introduction to Its Development in America, London: Studio Vista, 1967, 318 pp.

• Cinema Now: Stan Brakhage, John Cage, Jonas Mekas, Stan Vanderbeek, eds. Hector Currie and Michael Porte, University of Cincinnati Press, 1968, 28 pp. Transcript of a discussion among filmmakers and members of the Film as Art and Communication class at the University of Cincinnati, which took place in April 1967.

• Parker Tyler, Underground Film: A Critical History, New York: Grove Press, 1969, 249+[32] pp; London: Secker & Warburg, 1969, 249+[32] pp; Harmondsworth: Penguin, 1974, 240+[16] pp; repr., intro. J. Hoberman, afterw. Charles Boultenhouse, New York: Da Capo Press, 1995, 265+[16] pp.

1970s

Gene Youngblood, Expanded Cinema, 1970, Log.

Annette Michelson (ed.), Artforum: Special Issue on Film (September 1971), PDF.

P. Adams Sitney, Visionary Film: the American Avant-Garde, 1974ff, Log.

Amos Vogel, Film as a Subversive Art, 1974. PDF.

Peter Gidal (ed.), Structural Film Anthology, 1976, Log, PDF.

Film as Film: Formal Experiment in Film, 1910-1975, 1979, Log, PDF.

• Gene Youngblood, Expanded Cinema, intro. R. Buckminster Fuller, New York: Dutton, 1970, 432+[6] pp; 50th anniv.ed., Fordham University Press, 2020.
  • Cine expandido, Buenos Aires: Eduntref, 2012, 456 pp. [21] (Spanish)
  • Expanded cinema, trans. Pier Luigi Capucci and Simonetta Fadda, Bologna: CLUEB, 2013, xvi+388 pp. (Italian)

• Birgit Hein, Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino, Frankfurt/Berlin/Vienna: Ullstein, 1971. (German)

• David Curtis, Experimental Cinema: A Fifty Year Evolution, London, Studio Vista, 1971. [22]

• Jonas Mekas, Movie Journal: The Rise of New American Cinema, 1959-1971, New York: Macmillan, 1972, 434 pp; 2nd ed., forew. Peter Bogdanovich, intro. Gregory Smulewicz-Zucker, Columbia University Press, 2016, 496 pp. A collection of the columns written for the Village Voice beginning in 1958 under the title "Movie Journal". Review: Everleth (UFJ 2007).
  • Ciné-Journal: Un nouveau cinéma américain (1959-1971), trans. Dominique Noguez, Paris: Paris expérimental, 1992, 400 pp. [23] (French)

• Gottfried Schlemmer (ed.), Avantgardistischer Film 1951-1971, Theorie, Munich: Hanser, 1973. (German)

• Amos Vogel, Film as a Subversive Art, C. T. Editions, 1974. [24] [25]

• P. Adams Sitney, Visionary Film: the American Avant-Garde, Oxford University Press, 1974, xii+452 pp; 2nd ed., exp., as Visionary Film: the American Avant-Garde, 1943-1978, Oxford University Press, 1979, xiv+463 pp; 3rd ed., exp., as Visionary Film: the American Avant-Garde, 1943-2000, Oxford University Press, 2002, xvi+462 pp.
  • Le cinéma visionnaire: l'Avant-garde américaine 1943-2000, trans. Pip Chodorov and Christian Lebrat, Paris: Paris expérimental, 2002, 448 pp. [26] (French)
  • Sigak yonghwa: 20-segi Miguk abanggarudo yonghwa, trans. Tong-hyon Pak, Seoul: Pyongsari, 2005, 560 pp. (Korean)

• Hans Scheugl, Ernst Schmidt jr., Eine Subgeschichte des Films. Lexikon des Avantgarde-, Experimental- und Undergroundfilms, Band 1 und 2, Frankurt am Main: Suhrkamp, 1974. (German)

• Jean Mitry, Le Cinema Experimental: Histoire et Perspectives, Paris: Seghers, 1974. (French)
  • Storia del cinema sperimentale, trans. Giulio Stocchi and Carole Aghion, Milan: Mazzotta, 1971; 2nd ed., 1977; repr., Bologna: CLUEB, 2006, vi+217 pp. (Italian)

• Standish Lawder, The Cubist Cinema, New York University Press, 1975, 265 pp, OL. Reviews: Reveaux (Film Q), Chin (PAJ).
  • Il cinema cubista, Costa & Nolan, 1996. (Italian)

• Stephen Dwoskin, Film is ...: The International Free Cinema, London: Owen, 1975.

• P. Adams Sitney (ed.), The Essential Cinema: Essays on the Films in the Collection of Anthology Film Archives, New York: Anthology Film Archives, 1975. Essays by filmmakers and scholars of the avant-garde, written with a wide range of approaches ranging from the theoretical to the purely personal, intended to reinforce appreciation of the films chosen by the archive for inclusion in its Essential Cinema Collection.

• Viktoria Hradská, Česká avantgarda a film, Prague: Čs. filmový ústav, 1976. (Czech)

• Malcolm Le Grice, Abstract Film and Beyond, MIT Press, 1977.

• Thanasis Rentzis (Θανάσης Ρεντζής), Οι Πρωτοπορίες στον κινηματογράφο, Athens: Kastaniotis [Καστανιώτης], 1978, 31 pp. (Greek)

• Dominique Noguez, Éloge du cinéma expérimental: Definitions, Jalons, Perspectives, Paris: Paris expérimental and Centre Georges Pompidou, 1979; 3rd ed., 2010. (French) [27]

1980s

Hollis Frampton, Circles of Confusion: Film/Photography/Video Texts 1968-1981, 1983, Log, PDF.

• Ulrich Gregor (ed.), The German Experimental Film of the Seventies, Munich: Goethe-Institut, 1980.

• Martin Walsh, The Brechtian Aspect of Radical Cinema, London: BFI Publishing, 1981, 136 pp.

• Hollis Frampton, Circles of Confusion: Film/Photography/Video Texts 1968-1981, forew. Annette Michelson, Visual Studies Workshop Press, 1983, 200 pp.

• Inez Hedges, Languages of Revolt: Dada and Surrealist Literature and Film, Durham, N.C.: Duke University Press, 1983.

• Andere Avant Garde, Linz: Gutenberg, 1984. (German)

• Branko Vučićević, Avangardni film 1895-1939, vol. 2, 2 vols., Belgrade: Radionica SIC, 1984 & 1990, 159 & 63 pp. (Serbo-Croatian)

• Maureen Cheryn Turim, Abstraction in Avant-garde Films, Ann Arbor, Mich.: UMI Research Press, 1985.

• Jairo Ferreira, Cinema de Invenção, Sao Paulo: Editora Max Limonad, 1986. [28] (Brazilian Portuguese)

• Helge Krarup, Carl Norrested, Eksperimentalfilm i Danmark, Copenhagen: Borgen, 1986. (Danish)

• Fernao Ramos, Cinema Marginal, 1968-1973: A Representacao em seu Limite, Sao Paulo: Editora Brasiliense, 1987. (Portuguese)

• Stan Brakhage, Film at Wit's End: Eight Avant-garde Filmmakers, Kingston, N.Y.: Documentext, 1989.

• Ingo Petzke (ed.), Das Experimentalfilm-Handbuch, Frankfurt am Main: Deutsches Filminstitut, 1989, 385 pp. (German) [29]

• Peter Gidal, Materialist Film, London and New York: Routledge, 1989.

• Marcin Giżycki, Walka o film artystyczny w mie̜dzywojennej Polsce, Warsaw: Państwowe Wydawnictwo Naukowe, 1989, 262+[32] pp. (Polish)

• Eduard Ditschek, Politisches Engagement und Medienexperiment: Theater und Film der Russischen und Deutschen Avantgarde der Zwanziger Jahre, Tübingen: Narr, 1989, 306 pp. TOC. (German)

• David E. James, Allegories of Cinema: American Film in the Sixties, Princeton University Press, 1989, xiii+388 pp. Review: Dessser (Film Q).

1990s

• P. Adams Sitney, Modernist Montage: The Obscurity of Vision in Cinema and Literature, New York: Columbia University Press, 1990, x+250+[16] pp.

• Ryszard Kluszczyński, Film: sztuka Wielkiej Awangardy, Warsaw/Łódź: PWN, 1990, 183 pp. [30] (Polish)

• Patricia Mellencamp, Indiscretions: Avant-garde Film, Video & Feminism, Bloomington: Indiana University Press, 1990, xix+234 pp.

• Lauren Rabinovitz, Points of Resistance: Women, Power & Politics in the New York Avant-garde Cinema, 1943-71, Urbana: University of Illinois Press, 1991, xi+250 pp; 2nd ed., 2003, xviii+252 pp. [31]

• Stanislav Ulver, Západní filmová avantgarda, Prague: ČFÚ, 1991. (Czech)

• William C. Wees, Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film, University of California Press, 1992, PDF.

• Frederique Devaux, Le cinéma Lettriste: 1951-1991, Paris: Paris expérimental, 1992. (French) Publisher.

• David E. James (ed.), To Free the Cinema: Jonas Mekas and the New York Underground, University of Princeton Press, 1992, 352 pp. Publisher.

• Scott MacDonald, Avant-garde Film: Motion Studies, Cambridge University Press, 1993.

• William C. Wees, Recycled Images: The Art and Politics of Found Footage Films, New York: Anthology Film Archives, 1993, 117 pp.

• Image Forum, Japanese Experimental Film & Video 1955–1994, Osaka: Kirin Plaza Osaka, 1994.

• Germaine Dulac, Écrits sur le cinéma, 1919-1937, ed. Prosper Hillairet, Paris: Paris expérimental, 1994, 225 pp. Anthology of Dulac's writings with contextual essay. [32] (French)

• Edward S. Small, Direct Theory: Experimental Film/Video as Major Genre, SIU Press, 1994, 122 pp.

• James Peterson, Dreams of Chaos, Visions of Order: Understanding the American Avante-garde Cinema, Detroit: Wayne State University Press, 1994.

• Holger Wilmesmeier, Deutsche Avantgarde und Film: Die Filmmatinee "Der absolute film" (3. und 10. Mai 1925), 1994, 220 pp. (German)

• Jan-Christopher Horak (ed.), Lovers of Cinema: The First American Film Avant-garde, 1919-1945, Madison, Wis.: University of Wisconsin Press, 1995. [33]

• Rudolf E. Kuenzli (ed.), Dada and Surrealist Film, MIT Press, 1996.

• Marcin Giżycki, Awangarda wobec kina: film w kręgu polskiej awangardy artystycznej dwudziestolecia międzywojennego, Warsaw: Wydawnictwo Małe, 1996, 142 pp. [34] [35] (Polish)

• Karin Fritsche, Claus Löser (eds.), Gegenbilder - Filmische Subversion in der DDR 1976-1989, Berlin: Janus Press, 1996. [36], Review. (German)

• Bruno Fischli, Carola Ferber (eds.), Der Deutsche experimentalfilm der 90er Jahre / The German Experimental Film of the 1990s, Munich: Goethe Institut, 1996, 101 pp. (German)/(English)

• Michael O'Pray (ed.), The British Avant-Garde Film, 1926-1995: An Anthology of Writings, Luton: John Libbey Media, 1996, 332 pp.

• Christian Lebrat, Entre les images, Paris: Paris expérimental, 1997, 100 pp. (French) [37]

• Il cinema d'avanguardia: 1910-1930, Venezia: Marsilio, 1997. (Italian)

• Jack Sargeant, Naked Lens: Beat Cinema, London: Creation Books, 1997; repr., Berkeley, CA: Soft Skull Press, 2008.

• Wheeler W. Dixon, The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema, Albany: State University of New York Press, 1998.

• Jacqueline Bobo (ed.), Black Women Film and Video Artists, Routledge, 1998, 288 pp. Publisher.

• Robert A. Haller (ed.), First Light, New York: Anthology Film Archives, 1998, 108 pp.

• Beatriz Sarlo Sabajanes, La maquina cultural: maestras, traductores y vanguardistas, Buenos Aires: Ariel, 1998. (Spanish)

• Scott MacDonald, A Critical Cinema: Interviews with Independent Filmmakers, 5 vols, Berkeley: University of California Press, 1988–2005. Vol. 2, Vol. 5. Five volumes of in-depth, perceptive, enlightening interviews with a multitude of filmmakers offer a veritable history of the field. The author’s overriding concern is with experimental cinema as a form of critique of conventional media.

• A. L. Rees, A History of Experimental Film and Video: From Canonical Avant-garde to Contemporary British Practice, London: British Film Institute, 1999, viii+152+[32] pp; 2nd ed., Palgrave Macmillan, 2011, 208 pp.
  • Jikken eizō no rekishi eiga to bideo: kihanteki abangyarudo kara gendai eikoku deno eizō jissen [実験映像の歴史:映画とビデオ : 規範的アヴァンギャルドから現代英国での映像実践], Kyoto: Kōyōshobō, 2010. (Japanese)
  • Shi yan dian ying shi yu lu xiang shi [实验电影史与录像史], Changchun: Ji lin chu ban ji tuan you xian ze ren gong si, 2011, 210 pp. (Chinese)
  • 험영화와 비디오의 역사 : 정통 아방가르드부터 현대 영국 예술의 실천까지, 2014. (Korean)

• Emanuel Levy, Cinema of Outsiders: The Rise of American Independent Film, New York: New York University Press, 1999.

• Bruno Di Marino, Sguardo inconscio azione: cinema sperimentale e underground a Roma: 1965-1975, Rome: Lithos, 1999. (Italian)

2000s

R. Bruce Elder, Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century, 2008, Log.

P. Adams Sitney, Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson, 2008, Log.

• Joan M Minguet Batllori, Cinema, modernitat i avantguarda (1920-1936), Valencia: E. Climent, 2000. (Spanish)

• Laura U. Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Duke University Press, 2000, 320 pp. Excerpt, [38].

• Bill Nichols (ed.), Maya Deren and the American Avant-garde, University of California Press, 2001, xi+331 pp.

• Scott MacDonald, The Garden in the Machine: A Field Guide to Independent Films about Place, University of California Press, 2001, 487 pp. Publisher.

• Barbara Wilinsky, Sure Seaters: The Emergence of Art House Cinema, Minneapolis: University of Minnesota Press, 2001.

• Bruce Posner (ed.), Unseen Cinema: Early American Avant-Garde Film 1893-1941, New York: Black Thistle Press, and New York: Anthology Film Archives, 2001.

• Malcolm Le Grice, Experimental Cinema in the Digital Age, London: BFI Publishing, 2001, 484 pp.

• Hans Scheugl, Erweitertes Kino. Die Wiener Filme der 60er Jahre, Vienna: Triton, 2002. (German)

• Laura U. Marks, Touch: Sensuous Theory and Multisensory Media, University of Minnesota Press, Oct 2002, 288 pp.

• Nina Danino, Michael Maziere (eds.), The Undercut reader: critical writings on artists' film and video, London/New York: Wallflower, 2003.

• Maurice Lemaitre, 1967-1969, le cafe-cinema Lemaitre : suivi de Huit filmes lettristes, Paris: Paris expérimental, 2003. (French)

• Nicky Hamlyn, Film Art Phenomena, London: British Film Institute, 2003, viii+200 pp. Ch 4. Reviews: Rees (Screen), Conomos (Screening the Past).

• Michael O'Pray, Avant-Garde Film: Forms, Themes and Passions, London/New York: Wallflower, 2003.

• Anna Abrahams, Mariska Graveland, Erwin van 't Hart, Peter van Hoof, MM2. Experimental film in the Netherlands since 1960, Amsterdam: Filmbank & De Balie, 2004, 286 pp. [39]

• Jeffrey Skoller, Shadows, Specters, Shards. Making History in Avant-Garde Film, University of Minnesota Press, 2005, 233 pp.

• Haidee Wasson, Museum Movies: The Museum of Modern Art and the Birth of Art Cinema, University of California Press, 2005.

• David E. James, The Most Typical Avant-garde: History and Geography of Minor Cinemas in Los Angeles, University of California Press, 2005, 548 pp. Review.

• Clayton Patterson (ed.), Captured: A Film & Video History of the Lower East Side, New York: Seven Stories Press, 2005, 554 pp. [40]

• Paul Arthur, A Line of Sight: American Avant-Garde Film Since 1965, University of Minnesota Press, 2005. [41]

• Jean Petrolle, Virginia Wright Wexman (eds.), Women and Experimental Filmmaking, Urbana: University of Illinois, 2005, 300 pp. Review: Hutchison (Signs). [42]

• François Albera, L’Avant-garde au cinéma, Paris: Armand Colin, 2005. (French)

• Scott MacDonald, Art in Cinema: Documents Toward a History of the Film Society, Temple University Press, 2006, 307 pp.

• Paul G. Pickowicz, Yingjin Zhang (eds.), From Underground to Independent: Alternative Film Culture in Contemporary China, Lanham, Md.: Rowman & Littlefield, 2006.

• Nicole Brenez, Cinémas d'avant-garde, Paris: Cahiers du cinéma, 2006, 95 pp. (French)

• Nicole Brenez, Traitement du lumpenproletariat par le cinéma d'avant-garde, Biarritz: Séguier, and Paris: Archimbaud, 2006, 97 pp. (French)

• Robin Blaetz (ed.), Women's Experimental Cinema: Critical Frameworks, Durham: Duke University Press, 2007, viii+421 pp. Publisher. OAPEN.

• David Curtis, A History of Artists' Film and Video in Britain, London: BFI Publishing, 2007, 320 pp. Publisher.

• Scott MacDonald, Canyon Cinema: The Life and Times of an Independent Film Distributor, University of California Press, 2007, IA. [43]

• Jacques Aumont, Moderne? Comment le cinéma est devenu le plus singulier des arts, Paris: Cahiers du Cinéma, 2007. (French)

• Noël Burch, De la Beauté des latrines: pour réhabiliter le sens au cinéma et ailleurs, Paris: L’Harmattan, 2007. (French)

• Malte Hagener, Moving Forward, Looking Back: The European Avant-garde and the Invention of Film Culture, 1919-1939, Amsterdam University Press, 2007, 376 pp.

• Alexander Graf, Dietrich Scheunemann (eds.), Avant-garde Film, Rodopi, 2007. Result of a research project at the University of Edinburgh that aims to connect the history of avant-garde film to the wider avant-garde in literature and art. It establishes a continuum between the contemporary moving image and the classical experimental film that preceded it from the 1920s onward.

• Łukasz Ronduda, Florian Zeyfang (eds.), 1,2,3... Avant-Gardes: Film/Art between Experiment and Archive, Warsaw: Centre for Contemporary Art, and Berlin/New York: Sternberg, 2007. [44] (English)/(German)

• Duncan Reekie, Subversion: The Definitive History of Underground Cinema, London: Wallflower Press, 2007. Review: Szczelkun (Variant).

• P. Adams Sitney, Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson, Oxford University Press, 2008, xiv+417+[32] pp.

• Randall Halle, Reinhild Steingroever (eds.), After the Avant-Garde: German and Austrian Experimental Film, Rochester, NY: Camden House, 2008. [45]

• R. Bruce Elder, Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century, Waterloo: Wilfrid Laurier University Press, 2008.

• Daniel Barnett, Movement as Meaning: In Experimental Film, Rodopi, 2008, 240 pp.

• Christian Lebrat, Cinéma radical: dimensions du cinéma expérimental et d’avant-garde, Paris: Paris Expérimental, 2008, 182 pp. Review: Olivesi (QdC). (French)
  • Radical Cinema, trans. Anna Doyle, et al., Paris: Paris Expérimental, 2020.

• Hollis Frampton, On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton, ed. Bruce Jenkins, MIT Press, 2009, 360 pp. [46]
• Jean-Paul Aubert, L'école de Barcelone: un cinéma d'avant-garde en Espagne sous le franquisme, Paris: Harmattan, 2009. (French)

• Paul Young, Paul Duncan (eds.), Art Cinema, Taschen, 2009, 192 pp. [47]
  • La cinéma expérimental, Taschen, 2009, 192 pp. (French) [48]

• S. Buchmann, H. Draxler, S. Geene (eds.), Film, Avantgarde, Biopolitik, Vienna: Schlebrügge, 2009, 428 pp. [49] (German)

• From Absolute Cinema to Future Film: Materials from the History of Experiment in the Moving Picture Art, eds. Violetta Kutlubasis-Krajewska and Piotr Krajewski, Wroclaw: WRO Art Center, 2009, 84 pp.
  • Od kina absolutnego do filmu przyszłości, Wroclaw: WRO Art Center, 2009. (Polish)

2010s

• Gabriele Jutz, Cinéma brut. Eine alternative Genealogie der Filmavantgarde, Springer, 2010, 295 pp. (German)

• Nicole Brenez, Bidhan Jacobs (eds.), Le Cinéma critique: de l'argentique au numérique, voies et formes de l'objection visuelle, Paris: Publications de la Sorbonne, 2010, 267 pp. Conference proceedings. [50] (French)

• Steve Anker, Kathy Geritz, Steve Seid (eds.), Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000, University of California Press, Berkeley Art Museum and Pacific Film Archive, 2010, 352 pp.

• Lars Gustaf Andersson, John Sundholm, Astrid Söderbergh Widding, A History of Swedish Experimental Film Culture: From Early Animation to Video Art, Stockholm: Mediehistoriskt arkiv, 2010. [51]

• Malcolm Turvey, The Filming of Modern Life: European Avant-Garde Film of the 1920s, MIT Press, 2011. Review: Foltz (LARB).

• Pavle Levi, Cinema by Other Means, Oxford University Press, Apr 2012, xvi+201 pp. Publisher.
  • Kino drugim sredstvima, trans. Đorđe Tomić, Belgrade: Muzej savremene umetnosti: Filmski centar Srbije, 2013, 249 pp. (Serbian)

• Peter Tscherkassky (ed.), Film Unframed: A History of Austrian Avant-Garde Cinema, Vienna: Synema, 2012, 368 pp. [52]

• William E.B. Verrone, The Avant-Garde Feature Film: A Critical History, Jefferson, NC: McFarland, 2012, 222 pp.

• Akira Mizuta Lippit, Ex-Cinema: From a Theory of Experimental Film and Video, University of California Press, 2012, 189 pp, EPUB. Review: Flynn (Alphaville).

• Adriano Aprà (ed.), Fuori norma. La via sperimentale del cinema italiano, Marsilio, 2013, 208 pp. (Italian)

• David Andrews, Theorizing Art Cinemas: Foreign, Cult, Avant-Garde and Beyond, Austin: University of Texas Press, 2013, 304 pp.

• Martin Čihák, Ponorná řeka kinematografie, Prague: NAMU, 2013, 304 pp. Based on dissertation Skladebné postupy filmových avantgard (2004). Excerpt. Publisher. Reviews: Hudec (Kino Ikon), Střeláková (Dokrevue), Blažek (IndieFilm), Meixner (25fps). (Czech)

• Film as Film: The Collected Writings of Gregory J. Markopoulos, ed. Mark Webber, forew. P. Adams Sitney, The Visible Press, 2014; rev.ed., 2017, 544 pp. Publisher.

• Scott MacDonald, Avant-Doc: Intersections of Documentary and Avant-Garde Cinema, Oxford University Press, 2014. Publisher.

• Arnd Schneider, Caterina Pasqualino (eds.), Experimental Film and Anthropology, Berg/Bloomsbury, 2014, 208 pp. Conference. [53]

• Andrew V. Uroskie, Between the Black Box and the White Cube: Expanded Cinema and Postwar Art, University of Chicago Press, 2014, 288 pp.

• Ara Osterweil, Flesh Cinema: The Corporeal Turn in American Avant-Garde Film, Manchester University Press, 2014, 304 pp. [54]

• Božidar Zečević, Srpska avangarda i film 1920-1932, Belgrade: Akademski filmski centar/Dom kulture Studentski grad, 2014, 390 pp. (Serbian)

• Albert Alcoz, Alberto Cabrera Bernal (eds.), Angular 1, trans. Mattea Cussel, Angular, 2014, 82 pp. Incl. DVD with 13 films (122 min). [55] [56] (Spanish)/(English)

• Kamila Kuc, Michael O'Pray (eds.), The Struggle for Form: Perspectives on Polish Avant-Garde Film, 1916–1989, New York: Wallflower Press, 2014. (English)

• P. Adams Sitney, The Cinema of Poetry, Oxford University Press, 2014, 292 pp, ARG. [57] (English)

• David E. James, Adam Hyman (eds.), Alternative Projections: Experimental Film in Los Angeles, 1945-1980, John Libbey, 2015, viii+335 pp. [58]

• Patti Gaal-Holmes, A History of 1970s Experimental Film: Britain’s Decade of Diversity, Palgrave Macmillan, 2015, 231 pp.

• Jackie Hatfield (ed.), Experimental Film and Video: An Anthology, John Libbey, 2015, 283 pp.

• Alice Lovejoy, Army Film and the Avant Garde: Cinema and Experiment in the Czechoslovak Military, Indiana University Press, 2015, 322 pp. [59]

• François Bovier, Adeena Mey (eds.), Cinéma exposé – Films d'artistes, art vidéo et exposition d’images en mouvement / Exhibited Cinema: Exhibiting Artists' Films, Video Art and Moving Image, Dijon: Les Presses du réel, 2015, 224 pp. [60] (French)/(English)

• Jeffrey Babcock, Cecilia Dino, Séances: Re-wiring Images in the Amsterdam Underground, Amsterdam, 2016. [61]

• George Bagdasarov, Alexandra Moralesová, et al., Buenos Aires Experiment, Prague: Akademie múzických umění v Praze, 2016, 162 pp. TOC, Excerpt. [62]. Review: Križková (Kapitál/Kinečko). (Czech)
  • Buenos Aires Experiment, Prague: AMU – Academy of Performing Arts in Prague, 2017, 162 pp. Excerpt. [63] (English)

• Kamila Kuc, Visions of Avant-Garde Film: Polish Cinematic Experiments from Expressionism to Constructivism, Indiana University Press, 2016. (English)

• Peter Gidal, Flare Out: Aesthetics 1966-2016, eds. Mark Webber and Peter Gidal, The Visible Press, 2016, 288 pp. A collection of essays by Peter Gidal on film, art and aesthetics. Response: Walley (World Picture). [64]

• Albert Alcoz, Resonancias fílmicas: el sonido en el cine estructural (1960-1981), Santander: Shangrila Textos Aparte, 2017, 358 pp. Publisher. (Spanish)

• Jesse Lerner, Luciano Piazza (eds.), Ism, Ism, Ism: Experimental Cinema in Latin America / Ismo, Ismo, Ismo: Cine experimental en America Latina, University of California Press, 2017, 400 pp. Publisher. (English)/(Spanish)

• François Bovier (ed.), Early Video and Experimental Film Networks: French-Speaking Switzerland in 1974: A Case for "Minor History", Lausanne: ECAL/University of Art and Design Lausanne, 2017, 252 pp. [65] [66]

• Sue Clayton, Laura Mulvey (eds.), Other Cinemas: Politics, Culture and Experimental Film in the 1970s, I.B. Tauris, 2017.

• Érik Bullot, Le film et son double. Boniment, ventriloquie, performativité, Dijon: Les Presses du réel, 2017, 208 pp. Introduction. [67] (French)

• Pavle Levi, Jolted Images: Unbound Analytic, Amsterdam: Amsterdam University Press, Oct 2017, 216 pp. Publisher.

• Patricia R. Zimmermann, Scott MacDonald, The Flaherty: Decades in the Cause of Independent Cinema, Indiana University Press, 2017.

• Érik Bullot (ed.), Du film performatif, Dijon: Les Presses du réel, 2018, 265 pp. [68] (French)

• Claudia Aravena, Iván Pinto, Visiones laterales: cine y video experimental en Chile 1957-2017, Santiago de Chile: Metales Pesados, 2018, 271 pp. [69]. Reviews: Moreno (Algarrobo-MEL), Kottow (laFuga). (Spanish)

• Gonzalo de Lucas (ed.), Xcèntric Cinema: Conversations on the Creative Process and the Filmic Vision, Barcelona: CCCB, 2018, 311 pp. With DVD. [70] [71]

• Richard H. Brown, Through The Looking Glass: John Cage and Avant-Garde Film, Oxford University Press, 2019, 256 pp. [72]

• Albert Alcoz, Radicales libres: 50 películas esenciales del cine experimental, Barcelona: Editorial UOC, 2019, 236 pp. Publisher. (Spanish)

• Olga Moskatova, Male am Zelluloid. Zum relationalen Materialismus im kameralosen Film, Bielefeld: transcript, 2019, 390 pp. Based on dissertation from the Berlin Universität der Künste, 2016. [73] (German)

• Scott MacKenzie, Janine Marchessault (eds.), Process Cinema: Handmade Film in the Digital Age, McGill-Queen's University Press, 2019.

• Lucy Reynolds (ed.), Women Artists, Feminism and the Moving Image: Contexts and Practices, Bloomsbury, 2019, 328 pp, EPUB. Publisher.

• Erika Balsom, Lucy Reynolds, Sarah Perks (eds.), Artists' Moving Image in Britain Since 1989, Yale University Press, 2019, 544 pp. Publisher. [74]

• Scott MacDonald, The Sublimity of Document: Cinema as Diorama (Avant-Doc 2), Oxford University Press, 2019. A collection of in-depth, substantive interviews with moving-image artists working “avant-doc,” that is, making films that explore the territory between documentary and experimental cinema. Publisher.

• Seth Howes, Moving Images on the Margins: Experimental Film in Late Socialist East Germany, Rochester, NY: Camden House, 2019, 280 pp. Publisher. Reviews: Ward (Stud Eur Cinema), Smith (German Stud Rev), Heiduschke (German Hist), Fritzsch (ArtMargins). [75] [76]

2020s

• Kim Knowles, Experimental Film and Photochemical Practices, Palgrave Macmillan, 2020, xv+255 pp, EPUB.

• Sarah Durcan, Memory and Intermediality in Artists’ Moving Image, Palgrave Macmillan, 2020, 260 pp.

• Jill Murphy, Laura Rascaroli (eds.), Theorizing Film Through Contemporary Art: Expanding Cinema, Amsterdam University Press, 2020.

• Gregory Zinman, Making Images Move: Handmade Cinema and the Other Arts, University of California Press, 2020, 392 pp. [77]

• Jonathan Walley, Cinema Expanded: Avant-Garde Film in the Age of Intermedia, Oxford University Press, 2020, 432 pp. Publisher.

• Kim Knowles, Marion Schmid (eds.), Cinematic Intermediality: Theory and Practice, Edinburgh University Press, 2021, 224 pp. Publisher.

• Arnd Schneider, Expanded Visions: A New Anthropology of the Moving Image, Routledge, 2021, 212 pp. Publisher.

• David Curtis, Steve McQueen, Artists' Film, London: Thames & Hudson, 2021, 340 pp. Publisher.

• Laura A. Frahm, Design in Motion: Film Experiments at the Bauhaus, MIT Press (Leonardo), 2022, 428 pp. Publisher.

• Federico Windhausen (ed.), A Companion to Experimental Cinema, Wiley-Blackwell, 2022, 480 pp. Publisher.

• Ksenya Gurshtein, Sonja Simonyi (eds.), Experimental Cinemas in State-Socialist Eastern Europe, Amsterdam: Amsterdam University Press, 2022, 334 pp. Publisher. TOC. Review: Sitek (Artmargins). [78]

• Elio Della Noce, Lucas Murari (eds.), Expanded nature: écologies du cinéma expérimental, Paris: Light Cone, 2022, 336 pp. Publisher. [79] (French)

• Erika Balsom, Hila Peleg (eds.), Feminist Worldmaking and the Moving Image, MIT Press, 2022, 320 pp. Publisher. Exhibition.

• Howard Finn, Cinematic Modernism and Contemporary Film: Aesthetics and Narrative in the International Art Film, Bloomsbury Academic, 2022, 336 pp. Publisher.

• Jennifer DeClue, Visitation: The Conjure Work of Black Feminist Avant-Garde Cinema, Duke University Press, 2022.

• Juan A. Suárez, Experimental Film and Queer Materiality, Oxford University Press, Aug 2024, 328 pp. Publisher.

• Kim Knowles, Jonathan Walley (eds.), The Palgrave Handbook of Experimental Cinema, Cham: Palgrave Macmillan, Sep 2024, xxi+616 pp. Publisher.

• Sophia Satchell-Baeza, Sensual Laboratories: Light Shows, Experimental Film, and Psychedelic Art, forew. Jarvis Cocker, Strange Attractor Press, 2025, 200 pp. Distributor.

Journal issues

• Artforum: "Special Film Issue", ed. Annette Michelson, Sep 1971.
• Journal of the University Film Association 33(2): "Avant-garde Film/Video", Spring 1981. [80]
• Cinepur 17: "Současný český experimentální film", Prague, Feb 2001. [81] (Czech)
• Kino-Integral 11-12: "Prispevki k zgodovini slovenskega eksperimentalnega filma", 2011. Issue on the history of Slovenian experimental film. (Slovenian)
• Arte y Políticas de Identidad 8: "La pantalla experimental en el Estado español: Ensayos, estructuras, deconstrucciones, militancias", 2013. (Spanish)
• Studies in Eastern European Cinema 7(1): "Experimental Cinema in State Socialist Eastern Europe", eds. Ksenya Gurshtein and Sonja Simonyi, 2016. [82] (English)
• Secuencias. Revista de historia del cine 55: "Súper 8 contra el grano", eds. Miguel Errazu and Alberto Berzosa, UAM, 2022, PDF. (Spanish)
• Konturen 12: "Feminism, Theory, Film: Critical Intersections in the Practice and Theorization of Experimental Filmmaking since the 1970s", ed. Sonja Boos, May 2022.

Selected essays, theses

• John G. Hanhardt, "The American Independent Cinema, 1958-1964", in Blam! The Explosion of Pop, Minimalism, and Performance, 1958-1964, ed. Barbara Haskell, New York: Whitney Museum of American Art, 1984, pp 117-136.

• Ansje van Beusekom, Film als kunst. Reacties op een nieuw medium in Nederland, 1895-1940, Vrije Universiteit, 1998, 336 pp. Ph.D. Dissertation. (Dutch)

• Michael Zryd, "A Report on Canadian Experimental Film Institutions, 1980–2000", in North of Everything: English Canadian Cinema Since 1980, eds. William Beard and Jerry White, Edmonton: University of Alberta Press, 2002, pp 392-401.

• Carlos Kase, A Cinema of Anxiety: American Experimental Film in the Realm of Art (1965-75), University of Southern California, 2009. PhD dissertation.

• Kathryn Ramey, "Economics and Culture of the Film Avant-Garde: Networks and Strategies in the Circulation of Films, Ideas and People", Jump Cut 52, Summer 2010.

• Julian Ross, Beyond the Frame: Intermedia and Expanded Cinema in 1960s-1970s Japan, Leeds: University of Leeds, 2014, 287 pp. PhD dissertation. (English)

• Ayanna Dozier, Mnemonic Aberrations: Black Feminism and the Emergence of a Counter-Poetics of Rhythm in Experimental Short Films (1968-Present), Montréal: McGill University, 2020. PhD dissertation.

Encyclopedic entries

"Experimental film (avant-garde; fine-art film)", in The Grove Encyclopedia of Materials and Techniques in Art, ed. Gerald W.R. Ward, Oxford University Press, 2008, pp 213-215.

Jeffrey Skoller, "Experimentalism: Film and Video", in Encyclopedia of Aesthetics, 2nd ed., ed. Michael Kelly, Oxford University Press, 2014, pp 547-551.

Mailing lists

• Frameworks. Started by Pip Chodorov of Re:Voir in Paris; unmoderated. Archives.

Documentary films

• Die kritische Masse – Film im Underground, Hamburg '68, dir. Christian Bau, 1998, 110 min. [83]
• Free Radicals: A History of Experimental Film, dir. Pip Chodorov, 2012, 82 min. [84]

Bibliographies

• UbuWeb: Papers on Film
• Avant-garde, Underground, and Experimental Cinema: A Selected Bibliography/Videography of Materials in the UC Berkeley
• NYU Department of Cinema Studies' Avant-Garde Reading List
• Steven Woloshen's Selected Bibliography: Experimental Sound in Film
• Robin Blaetz, "Avant-Garde and Experimental Film", Oxford Bibliographies
• Compiled list of books on experimental film from Frameworks mailing list, 2011. Archived discussion.
• Film Aesthetics: Women’s Experimental Cinema course by Ed Halter, 2008.
• Grahame Weinbren, Arlene Zeichner, "A Selected Annotated Bibliography of Writings Connected with Avant-Garde Film", Journal of the University Film Association 33(2): "Avant-garde Film/Video", Spring 1981, pp 35-56.

See also

• Experimental film in CEE, Hungary, Poland, Czech Republic, Slovakia, Croatia, Serbia, Slovenia, Bosnia and Herzegovina, Romania, Estonia, Lithuania.
• Further bibliography.
• Early cinema, Expanded cinema, Film labs, Live cinema

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