Difference between revisions of "Experimental film"

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==Literature==
 
==Literature==
 +
[[Image:Brakhage_Stan_Metaphors_on_Vision.jpg|thumb|258px|Stan Brakhage, ''Metaphors on Vision'', 1963. [[Media:Brakhage_Stan_Metaphors_on_Vision.pdf|Download]].]]
 +
[[Image:Youngblood_Gene_Expanded_Cinema.jpg|thumb|258px|Gene Youngblood, ''Expanded Cinema'', 1970. [http://monoskop.org/log/?p=218 Download].]]
 +
[[Image:Gidal_Peter_ed_Structural_Film_Anthology.jpg|thumb|258px|Peter Gidal (ed.), ''Structural Film Anthology'', 1976. [[Media:Gidal_Peter_ed_Structural_Film_Anthology.pdf|Download]].]]
 +
[[Image:Film_as_Film_Formal_Experiment_in_Film_1910-1975.jpg|thumb|258px|''Film as Film: Formal Experiment in Film, 1910-1975'', 1979. [[Media:Film_as_Film_Formal_Experiment_in_Film_1910-1975.pdf|Download]].]]
 +
[[Image:Elder_R_Bruce_Harmony_and_Dissent.jpg|thumb|258px| R. Bruce Elder, ''Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century'', 2008. [http://monoskop.org/log/?p=9777 Download].]]
 +
[[Image:Sitney_P_Adams_Eyes_Upside_Down.jpg|thumb|258px|P. Adams Sitney, ''Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson'', 2008. [http://monoskop.org/log/?p=488 Download].]]
 
; Journals and Magazines
 
; Journals and Magazines
 
* [http://monoskop.org/log/?p=5987 ''Cinim'' magazine, Nos. 1-3], 1967-1969.
 
* [http://monoskop.org/log/?p=5987 ''Cinim'' magazine, Nos. 1-3], 1967-1969.
Line 26: Line 32:
 
* Gerald O’Grady, Bruce Posner (eds.), ''[http://monoskop.org/log/?p=10155 Articulated Light: The Emergence of Abstract Film in America]'', Boston: Harvard Film Archive & Anthology Film Archives, 1995, 16 pp. Catalogue.
 
* Gerald O’Grady, Bruce Posner (eds.), ''[http://monoskop.org/log/?p=10155 Articulated Light: The Emergence of Abstract Film in America]'', Boston: Harvard Film Archive & Anthology Film Archives, 1995, 16 pp. Catalogue.
 
* ''[http://monoskop.org/log/?p=2614 Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative and British Avant-Garde Film 1966-1976]'', London: Lux, 2002.
 
* ''[http://monoskop.org/log/?p=2614 Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative and British Avant-Garde Film 1966-1976]'', London: Lux, 2002.
 +
* Gerda Cammaer (ed.), ''Placing spaces, spacing places: Canadian experimental films & videos of the 1990s'', Halifax, N.S.: Mount Saint Vincent University Art Gallery, 2003.
  
 
; Anthologies
 
; Anthologies
Line 33: Line 40:
  
 
; Books
 
; Books
 +
* 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, 1947.
 
* Roger Manvell, ''Experiment in the Film'', London: Grey Walls Press, 1949.
 
* Roger Manvell, ''Experiment in the Film'', London: Grey Walls Press, 1949.
 +
* Stan Brakhage, ''Metaphors on Vision'', Film Culture, 1963. Edited with an Introduction by P. Adams Sitney.
 
* Sheldon Renan, ''An Introduction to the American Underground Film'', New York: Dutton, 1967.
 
* Sheldon Renan, ''An Introduction to the American Underground Film'', New York: Dutton, 1967.
 
* Gene Youngblood, ''[http://monoskop.org/log/?p=218 Expanded Cinema]'', New York: Dutton, 1970. With an introduction by R. Buckminster Fuller.
 
* Gene Youngblood, ''[http://monoskop.org/log/?p=218 Expanded Cinema]'', New York: Dutton, 1970. With an introduction by R. Buckminster Fuller.
 
* Parker Tyler, ''Underground Film: A Critical History'' New York: Grove Press, 1970.
 
* Parker Tyler, ''Underground Film: A Critical History'' New York: Grove Press, 1970.
 
* Birgit Hein, ''Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino'', Frankfurt: Ullstein, 1971. (in German)
 
* Birgit Hein, ''Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino'', Frankfurt: Ullstein, 1971. (in German)
 +
* David Curtis, ''Experimental Cinema: A Fifty Year Evolution'', London, Studio Vista, 1971.
 
* Jonas Mekas, ''Movie Journal; The Rise of the New American Cinema, 1959-1971'', New York: Macmillan, 1972.
 
* Jonas Mekas, ''Movie Journal; The Rise of the New American Cinema, 1959-1971'', New York: Macmillan, 1972.
 
* Gottfried Schlemmer (ed.), ''Avantgardistischer Film 1951-1971, Theorie'', Munich: Hanser, 1973. (in German)
 
* Gottfried Schlemmer (ed.), ''Avantgardistischer Film 1951-1971, Theorie'', Munich: Hanser, 1973. (in German)
 
* Hans Scheugl, Ernst Schmidt, ''Eine Subgeschichte des Films: Lexikon d. Avantgarde-, Experimental- u. Undergroundfilms'', Frankurt am Main: Suhrkamp, 1974. (in German)
 
* Hans Scheugl, Ernst Schmidt, ''Eine Subgeschichte des Films: Lexikon d. Avantgarde-, Experimental- u. Undergroundfilms'', Frankurt am Main: Suhrkamp, 1974. (in German)
 
* Jean Mitry, ''Le Cinema Experimental: Histoire et Perspectives'', Paris: Seghers, 1974. (in French)
 
* Jean Mitry, ''Le Cinema Experimental: Histoire et Perspectives'', Paris: Seghers, 1974. (in French)
 +
* Stephen Dwoskin, ''Film is ...: The International Free Cinema'', London: Owen, 1975.
 
* Malcolm Le Grice, ''Abstract Film and Beyond'', MIT Press, 1977.
 
* Malcolm Le Grice, ''Abstract Film and Beyond'', MIT Press, 1977.
 +
* P. Adams Sitney (ed.), ''The Avant-garde Film: A Reader of Theory and Criticism'', New York: New York University Press, 1978.
 
* Ulrich Gregor (ed.), ''The German Experimental Film of the Seventies'', Munich: Goethe-Institut, 1980.  
 
* Ulrich Gregor (ed.), ''The German Experimental Film of the Seventies'', Munich: Goethe-Institut, 1980.  
 
* P. Adams Sitney, ''[http://monoskop.org/log/?p=499 Visionary Film: the American Avant-Garde, 1943-2000]'', Oxford University Press, 1974; Third edition, 2002.
 
* P. Adams Sitney, ''[http://monoskop.org/log/?p=499 Visionary Film: the American Avant-Garde, 1943-2000]'', Oxford University Press, 1974; Third edition, 2002.
 
* Martin Walsh, ''The Brechtian aspect of radical cinema'', London: BFI Publishing, 1981.
 
* Martin Walsh, ''The Brechtian aspect of radical cinema'', London: BFI Publishing, 1981.
 
* Dominique Noguez, ''Trente Ans de Cinema Experimental en France, 1950-1980'', Paris: A.R.C.E.F., 1982. (in French)
 
* Dominique Noguez, ''Trente Ans de Cinema Experimental en France, 1950-1980'', Paris: A.R.C.E.F., 1982. (in French)
 +
* Inez Hedges, ''Languages of Revolt: Dada and Surrealist Literature and Film'', Durham, N.C.: Duke University Press, 1983.
 +
* ''Andere Avant Garde'', Linz: Gutenberg, 1984. (in German)
 
* Maureen Cheryn Turim, ''Abstraction in Avant-garde Films'', Ann Arbor, Mich.: UMI Research Press, 1985.  
 
* Maureen Cheryn Turim, ''Abstraction in Avant-garde Films'', Ann Arbor, Mich.: UMI Research Press, 1985.  
 
* Jairo Ferreira, ''Cinema de Invencao'', Sao Paulo: Editora Max Limonad, 1986. (in Portuguese)
 
* Jairo Ferreira, ''Cinema de Invencao'', Sao Paulo: Editora Max Limonad, 1986. (in Portuguese)
 
* Helge Krarup, Carl Norrested, ''Eksperimentalfilm i Danmark'', Copenhagen: Borgen, 1986. (in Danish)
 
* Helge Krarup, Carl Norrested, ''Eksperimentalfilm i Danmark'', Copenhagen: Borgen, 1986. (in Danish)
 
* Fernao Ramos, ''Cinema Marginal, 1968-1973: A Representacao em seu Limite'', Sao Paulo: Editora Brasiliense, 1987. (in Portuguese)
 
* Fernao Ramos, ''Cinema Marginal, 1968-1973: A Representacao em seu Limite'', Sao Paulo: Editora Brasiliense, 1987. (in Portuguese)
 +
* Stan Brakhage, ''Film at Wit's End: Eight Avant-garde Filmmakers'', Kingston, N.Y.: Documentext, 1989.
 
* Peter Gidal, ''Materialist Film'', Routledge, 1989.
 
* Peter Gidal, ''Materialist Film'', Routledge, 1989.
 +
* Eduard Ditschek, ''Politisches Engagement und Medienexperiment: Theater und Film der Russischen und Deutschen Avantgarde der Zwanziger Jahre'', Tubingen: G. Narr, 1989. (in German)
 
* P. Adams Sitney, ''Modernist Montage: The Obscurity of Vision in Cinema and Literature'', New York: Columbia University Press, 1990.
 
* P. Adams Sitney, ''Modernist Montage: The Obscurity of Vision in Cinema and Literature'', New York: Columbia University Press, 1990.
 
* Patricia Mellencamp, ''Indiscretions: Avant-garde Film, Video & Feminism'', Bloomington: Indiana University Press, 1990.
 
* Patricia Mellencamp, ''Indiscretions: Avant-garde Film, Video & Feminism'', Bloomington: Indiana University Press, 1990.
 
* William C. Wees, ''[http://publishing.cdlib.org/ucpressebooks/view?docId=ft438nb2fr&chunk.id=0&toc.depth=100&brand=ucpress Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film]'', University of California Press, 1992.
 
* William C. Wees, ''[http://publishing.cdlib.org/ucpressebooks/view?docId=ft438nb2fr&chunk.id=0&toc.depth=100&brand=ucpress Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film]'', University of California Press, 1992.
 +
* Frederique Devaux, ''Le Cinema Lettriste: (1951-1991)'', Paris: Editions Paris experimental, 1992. (in French)
 
* Scott MacDonald, ''Avant-garde Film: Motion Studies'', Cambridge University Press, 1993.
 
* Scott MacDonald, ''Avant-garde Film: Motion Studies'', Cambridge University Press, 1993.
 
* Edward S. Small, ''[http://monoskop.org/log/?p=2618 Direct Theory: Experimental Film/Video as Major Genre]'', SIU Press, 1994, 122 pp.
 
* Edward S. Small, ''[http://monoskop.org/log/?p=2618 Direct Theory: Experimental Film/Video as Major Genre]'', SIU Press, 1994, 122 pp.
Line 60: Line 77:
 
* Jan-Christopher Horak (ed.), ''Lovers of Cinema: The First American Film Avant-garde, 1919-1945'', Madison, Wis.: University of Wisconsin Press, 1995.  
 
* Jan-Christopher Horak (ed.), ''Lovers of Cinema: The First American Film Avant-garde, 1919-1945'', Madison, Wis.: University of Wisconsin Press, 1995.  
 
* Rudolf E. Kuenzli (ed.), ''Dada and Surrealist Film'', MIT Press, 1996.
 
* Rudolf E. Kuenzli (ed.), ''Dada and Surrealist Film'', MIT Press, 1996.
 +
* Wheeler W. Dixon, ''The exploding Eye: A re-visionary History of 1960s American Experimental Cinema'', Albany: State University of New York Press, 1997.
 +
* ''Il cinema d'avanguardia: 1910-1930'', Venezia: Marsilio, 1997. (in Italian)
 
* Robert A. Haller (ed.), ''[http://www.roberthaller.com/firstlight/ First Light]'', New York: Anthology Film Archives, 1998, 108 pp.
 
* Robert A. Haller (ed.), ''[http://www.roberthaller.com/firstlight/ First Light]'', New York: Anthology Film Archives, 1998, 108 pp.
 
* Beatriz Sarlo Sabajanes, ''La maquina cultural: maestras, traductores y vanguardistas'', Buenos Aires: Ariel, 1998. (in Spanish)
 
* Beatriz Sarlo Sabajanes, ''La maquina cultural: maestras, traductores y vanguardistas'', Buenos Aires: Ariel, 1998. (in Spanish)
 
* A. L. Rees, ''[http://monoskop.org/log/?p=484 A History of Experimental Film and Video: From Canonical Avant-garde to Contemporary British Practice]'', British Film Institute, 1999.
 
* A. L. Rees, ''[http://monoskop.org/log/?p=484 A History of Experimental Film and Video: From Canonical Avant-garde to Contemporary British Practice]'', British Film Institute, 1999.
 
* Emanuel Levy, ''Cinema of outsiders: the rise of American independent film'', New York: New York University Press, 1999.
 
* 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. (in Italian)
 
* Joan M Minguet Batllori, ''Cinema, modernitat i avantguarda (1920-1936)'', Valencia: E. Climent, 2000. (in Spanish)
 
* Joan M Minguet Batllori, ''Cinema, modernitat i avantguarda (1920-1936)'', Valencia: E. Climent, 2000. (in Spanish)
 
* Barbara Wilinsky, ''Sure Seaters: the emergence of art house cinema'', Minneapolis: University of Minnesota Press, 2001.
 
* Barbara Wilinsky, ''Sure Seaters: the emergence of art house cinema'', Minneapolis: University of Minnesota Press, 2001.
Line 72: Line 92:
 
* Anna Abrahams, et al. (eds.), ''Mm2: experimental film in the Netherlands since 1960'', Amsterdam: Filmbank, with de Balie, 2004.
 
* Anna Abrahams, et al. (eds.), ''Mm2: experimental film in the Netherlands since 1960'', Amsterdam: Filmbank, with de Balie, 2004.
 
* Jeffrey Skoller, ''[http://monoskop.org/log/?p=1032 Shadows, Specters, Shards. Making History in Avant-Garde Film]'', University of Minnesota Press, 2005, 233 pp.
 
* Jeffrey Skoller, ''[http://monoskop.org/log/?p=1032 Shadows, Specters, Shards. Making History in Avant-Garde Film]'', University of Minnesota Press, 2005, 233 pp.
 +
* Paul Arthur, ''A line of sight : American avant-garde film since 1965'', Minneapolis: University of Minnesota Press, 2005.
 
* Jean Petrolle, Virginia Wright Wexman (eds.), ''Women and Experimental Filmmaking'', Urbana: University of Illinois, 2005. [http://www.loc.gov/catdir/toc/ecip055/2004029712.html]
 
* Jean Petrolle, Virginia Wright Wexman (eds.), ''Women and Experimental Filmmaking'', Urbana: University of Illinois, 2005. [http://www.loc.gov/catdir/toc/ecip055/2004029712.html]
 
* Paul G. Pickowicz, Yingjin Zhang (eds.), ''From underground to independent: alternative film culture in contemporary China'', Lanham, Md.: Rowman & Littlefield, 2006.
 
* Paul G. Pickowicz, Yingjin Zhang (eds.), ''From underground to independent: alternative film culture in contemporary China'', Lanham, Md.: Rowman & Littlefield, 2006.
 
* Robin Blaetz (ed.), ''Women's Experimental Cinema: Critical Frameworks'', Durham: Duke University Press, 2007. [http://www.loc.gov/catdir/toc/ecip0713/2007009344.html]
 
* Robin Blaetz (ed.), ''Women's Experimental Cinema: Critical Frameworks'', Durham: Duke University Press, 2007. [http://www.loc.gov/catdir/toc/ecip0713/2007009344.html]
 +
* Malte Hagener, ''[http://dare.uva.nl/document/171983 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.), ''[http://gen.lib.rus.ec/get?md5=A374B50B0671EF2BAC306D4815BBC682&open=0 Avant-garde Film]'', Rodopi, 2007.
 +
* Łukasz Ronduda, Florian Zeyfang (eds.), ''1,2,3... Avant-Gardes: Film/Art between Experiment and Archive'', Berlin/New York: Sternberg, 2007. (in English/German) [http://www.sternberg-press.com/index.php?pageId=1177&bookId=77&l=en]
 
* P. Adams Sitney, ''[http://monoskop.org/log/?p=488 Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson]'', 2008.
 
* P. Adams Sitney, ''[http://monoskop.org/log/?p=488 Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson]'', 2008.
 +
* Randall Halle, Reinhild Steingröver (eds.), ''After the avant-garde : contemporary German and Austrian experimental film'', Rochester, N.Y.: Camden House, 2008.
 
* R. Bruce Elder, ''[http://monoskop.org/log/?p=9777 Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century]'', Waterloo: Wilfrid Laurier University Press, 2008.
 
* R. Bruce Elder, ''[http://monoskop.org/log/?p=9777 Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century]'', Waterloo: Wilfrid Laurier University Press, 2008.
 
* Daniel Barnett, ''[http://monoskop.org/log/?p=493 Movement as Meaning: In Experimental Film]'', Rodopi, 2008, 240 pp.
 
* Daniel Barnett, ''[http://monoskop.org/log/?p=493 Movement as Meaning: In Experimental Film]'', Rodopi, 2008, 240 pp.
 +
* Jean-Paul Aubert, ''L'école de Barcelone : un cinéma d'avant-garde en Espagne sous le franquisme'', Paris: Harmattan, 2009. (in French)
 +
* Malcolm Turvey, ''[http://gen.lib.rus.ec/get?md5=493A858A784B322509C0F23498663C59&open=0 The Filming of Modern Life: European Avant-Garde Film of the 1920s]'', MIT Press, 2011.
  
 
; Bibliographies
 
; Bibliographies

Revision as of 12:36, 5 January 2014

Pages

Resources

Literature

Stan Brakhage, Metaphors on Vision, 1963. Download.
Gene Youngblood, Expanded Cinema, 1970. Download.
Peter Gidal (ed.), Structural Film Anthology, 1976. Download.
Film as Film: Formal Experiment in Film, 1910-1975, 1979. Download.
R. Bruce Elder, Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century, 2008. Download.
P. Adams Sitney, Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson, 2008. Download.
Journals and Magazines
Catalogues and Brochures
Anthologies
  • Peter Gidal (ed.), Structural Film Anthology, London: British Film Institute, 1976.
  • Gwendolyn Audrey Foster, Wheeler Winston-Dixon (eds.), Experimental Cinema: The Film Reader, Routledge, 2002.
  • Jackie Hatfield (ed.), Experimental Film and Video: An Anthology, Eastleigh: John Libbey Pub., 2006.
Books
  • 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, 1947.
  • Roger Manvell, Experiment in the Film, London: Grey Walls Press, 1949.
  • Stan Brakhage, Metaphors on Vision, Film Culture, 1963. Edited with an Introduction by P. Adams Sitney.
  • Sheldon Renan, An Introduction to the American Underground Film, New York: Dutton, 1967.
  • Gene Youngblood, Expanded Cinema, New York: Dutton, 1970. With an introduction by R. Buckminster Fuller.
  • Parker Tyler, Underground Film: A Critical History New York: Grove Press, 1970.
  • Birgit Hein, Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino, Frankfurt: Ullstein, 1971. (in German)
  • David Curtis, Experimental Cinema: A Fifty Year Evolution, London, Studio Vista, 1971.
  • Jonas Mekas, Movie Journal; The Rise of the New American Cinema, 1959-1971, New York: Macmillan, 1972.
  • Gottfried Schlemmer (ed.), Avantgardistischer Film 1951-1971, Theorie, Munich: Hanser, 1973. (in German)
  • Hans Scheugl, Ernst Schmidt, Eine Subgeschichte des Films: Lexikon d. Avantgarde-, Experimental- u. Undergroundfilms, Frankurt am Main: Suhrkamp, 1974. (in German)
  • Jean Mitry, Le Cinema Experimental: Histoire et Perspectives, Paris: Seghers, 1974. (in French)
  • Stephen Dwoskin, Film is ...: The International Free Cinema, London: Owen, 1975.
  • Malcolm Le Grice, Abstract Film and Beyond, MIT Press, 1977.
  • P. Adams Sitney (ed.), The Avant-garde Film: A Reader of Theory and Criticism, New York: New York University Press, 1978.
  • Ulrich Gregor (ed.), The German Experimental Film of the Seventies, Munich: Goethe-Institut, 1980.
  • P. Adams Sitney, Visionary Film: the American Avant-Garde, 1943-2000, Oxford University Press, 1974; Third edition, 2002.
  • Martin Walsh, The Brechtian aspect of radical cinema, London: BFI Publishing, 1981.
  • Dominique Noguez, Trente Ans de Cinema Experimental en France, 1950-1980, Paris: A.R.C.E.F., 1982. (in French)
  • Inez Hedges, Languages of Revolt: Dada and Surrealist Literature and Film, Durham, N.C.: Duke University Press, 1983.
  • Andere Avant Garde, Linz: Gutenberg, 1984. (in German)
  • Maureen Cheryn Turim, Abstraction in Avant-garde Films, Ann Arbor, Mich.: UMI Research Press, 1985.
  • Jairo Ferreira, Cinema de Invencao, Sao Paulo: Editora Max Limonad, 1986. (in Portuguese)
  • Helge Krarup, Carl Norrested, Eksperimentalfilm i Danmark, Copenhagen: Borgen, 1986. (in Danish)
  • Fernao Ramos, Cinema Marginal, 1968-1973: A Representacao em seu Limite, Sao Paulo: Editora Brasiliense, 1987. (in Portuguese)
  • Stan Brakhage, Film at Wit's End: Eight Avant-garde Filmmakers, Kingston, N.Y.: Documentext, 1989.
  • Peter Gidal, Materialist Film, Routledge, 1989.
  • Eduard Ditschek, Politisches Engagement und Medienexperiment: Theater und Film der Russischen und Deutschen Avantgarde der Zwanziger Jahre, Tubingen: G. Narr, 1989. (in German)
  • P. Adams Sitney, Modernist Montage: The Obscurity of Vision in Cinema and Literature, New York: Columbia University Press, 1990.
  • Patricia Mellencamp, Indiscretions: Avant-garde Film, Video & Feminism, Bloomington: Indiana University Press, 1990.
  • William C. Wees, Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film, University of California Press, 1992.
  • Frederique Devaux, Le Cinema Lettriste: (1951-1991), Paris: Editions Paris experimental, 1992. (in French)
  • Scott MacDonald, Avant-garde Film: Motion Studies, Cambridge University Press, 1993.
  • 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.
  • Jan-Christopher Horak (ed.), Lovers of Cinema: The First American Film Avant-garde, 1919-1945, Madison, Wis.: University of Wisconsin Press, 1995.
  • Rudolf E. Kuenzli (ed.), Dada and Surrealist Film, MIT Press, 1996.
  • Wheeler W. Dixon, The exploding Eye: A re-visionary History of 1960s American Experimental Cinema, Albany: State University of New York Press, 1997.
  • Il cinema d'avanguardia: 1910-1930, Venezia: Marsilio, 1997. (in Italian)
  • 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. (in Spanish)
  • A. L. Rees, A History of Experimental Film and Video: From Canonical Avant-garde to Contemporary British Practice, British Film Institute, 1999.
  • 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. (in Italian)
  • Joan M Minguet Batllori, Cinema, modernitat i avantguarda (1920-1936), Valencia: E. Climent, 2000. (in Spanish)
  • Barbara Wilinsky, Sure Seaters: the emergence of art house cinema, Minneapolis: University of Minnesota Press, 2001.
  • Nina Danino, Michael Maziere (eds.), The Undercut reader: critical writings on artists' film and video, London/New York: Wallflower, 2003.
  • Lauren Rabinovitz, Points of Resistance: Women, Power & Politics in the New York Avant-garde Cinema, 1943-71, Urbana: University of Illinois Press, 2003.
  • Maurice Lemaitre, 1967-1969, le cafe-cinema Lemaitre : suivi de Huit filmes lettristes, Paris: Paris experimental, 2003. (in French)
  • Michael O'Pray, Avant-Garde Film: Forms, Themes and Passions, London/New York: Wallflower, 2003.
  • Anna Abrahams, et al. (eds.), Mm2: experimental film in the Netherlands since 1960, Amsterdam: Filmbank, with de Balie, 2004.
  • Jeffrey Skoller, Shadows, Specters, Shards. Making History in Avant-Garde Film, University of Minnesota Press, 2005, 233 pp.
  • Paul Arthur, A line of sight : American avant-garde film since 1965, Minneapolis: University of Minnesota Press, 2005.
  • Jean Petrolle, Virginia Wright Wexman (eds.), Women and Experimental Filmmaking, Urbana: University of Illinois, 2005. [1]
  • Paul G. Pickowicz, Yingjin Zhang (eds.), From underground to independent: alternative film culture in contemporary China, Lanham, Md.: Rowman & Littlefield, 2006.
  • Robin Blaetz (ed.), Women's Experimental Cinema: Critical Frameworks, Durham: Duke University Press, 2007. [2]
  • 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.
  • Łukasz Ronduda, Florian Zeyfang (eds.), 1,2,3... Avant-Gardes: Film/Art between Experiment and Archive, Berlin/New York: Sternberg, 2007. (in English/German) [3]
  • P. Adams Sitney, Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson, 2008.
  • Randall Halle, Reinhild Steingröver (eds.), After the avant-garde : contemporary German and Austrian experimental film, Rochester, N.Y.: Camden House, 2008.
  • 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.
  • Jean-Paul Aubert, L'école de Barcelone : un cinéma d'avant-garde en Espagne sous le franquisme, Paris: Harmattan, 2009. (in French)
  • Malcolm Turvey, The Filming of Modern Life: European Avant-Garde Film of the 1920s, MIT Press, 2011.
Bibliographies

See also


  1. REDIRECT Template:Art and culture
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