Experimental film

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Literature

Stan Brakhage, Metaphors on Vision, 1963. Download.
Sheldon Renan, An Introduction to the American Underground Film, 1967. View online.
Gene Youngblood, Expanded Cinema, 1970. Download.
Amos Vogel, Film as a Subversive Art, 1974. 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

  • Film as Film: Formal Experiment in Film, 1910-1975, London: Arts Council of Great Britain, 1979, 152 pp.
  • Dominique Noguez, Trente ans de cinéma expérimental en France, 1950-1980, Paris: A.R.C.E.F., 1982, 117 pp. (in French) [1]
  • 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. (in Spanish)
  • Prosper Hillairet, Christian Lebrat, Patrice Rollet, Paris vu par le cinéma d'avant-garde (1923-1983), Paris: Paris expérimental, 1985. (in French) [2]
  • Paul de Mol, Nelly Voorhuis (eds.), Het Experiment in de Nederlandse Film, Amsterdam: Stedelijk Museum Amsterdam, 1985. (in Dutch)
  • David Schwartz (ed.), Independent America: New Film 1978-1988, New York: American Museum of the Moving Image, 1988, 93 pp.
  • Gerald O’Grady, Bruce Posner (eds.), Articulated Light: The Emergence of Abstract Film in America, Boston: Harvard Film Archive & Anthology Film Archives, 1995, 16 pp.
  • 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.
  • Esther Schlicht, Max Hollein (eds.), Zelluloid: Camera Less Film / Celluloid: Film ohne Kamera, Frankfurt: Schirn Kunsthalle, 2010. (in English/German)
  • Anna Abrahams, Claartje Opdam, Mariska Graveland, film3 [‘kju:bIk fIlm], Amsterdam: EYE Film Institute Netherlands & Amsterdam University Press, 2010, 390 pp. (in English/Dutch) [3]
  • 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, catalogue, Museum of Modern Art, Ljubljana, 2010, 154 pp. (in English/)
  • 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.
  • Susanne Pfeffer (ed.), You Killed Me First: The Cinema of Transgression, Berlin: KW Institute of Contemporary Art, and Cologne: Walther Konig, 2012. (in English/German)

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.
  • Wheeler Winston-Dixon, Gwendolyn Audrey Foster (eds.), Experimental Cinema: The Film Reader, London and New York: Routledge, 2002. 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.
  • 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. [4]
  • Annette Michelson (ed.), Artforum: Special Film Issue (September 1971).
  • Jonas Mekas, Movie Journal: The Rise of the New American Cinema, 1959-1971, New York: Macmillan, 1972, 434 pp. A collection of the columns written for the Village Voice beginning in 1958 under the title "Movie Journal" by a filmmaker who is also one of the founders of the journal Film Culture (1955–1996), the Film-Maker’s Co-op, and Anthology Film Archives.
  • Gottfried Schlemmer (ed.), Avantgardistischer Film 1951-1971, Theorie, Munich: Hanser, 1973. (in German)
  • Amos Vogel, Film as a Subversive Art, C. T. Editions, 1974. [5] [6]
  • 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.
  • 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.
  • Malcolm Le Grice, Abstract Film and Beyond, MIT Press, 1977.
  • Dominique Noguez, Éloge du cinéma expérimental: Definitions, Jalons, Perspectives, Paris: Centre Georges Pompidou, 1979; 3rd Edition, 2010. (in French) [7]
  • 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.
  • 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 Invenção, Sao Paulo: Editora Max Limonad, 1986. (in Portuguese) [8]
  • 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, London and New York: Routledge, 1989. [9]
  • Eduard Ditschek, Politisches Engagement und Medienexperiment: Theater und Film der Russischen und Deutschen Avantgarde der Zwanziger Jahre, Tübingen: Narr, 1989, 306 pp. (in German) Contents.
  • 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 cinéma Lettriste: 1951-1991, Paris: Paris expérimental, 1992. (in French) [10]
  • 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. [11]
  • Rudolf E. Kuenzli (ed.), Dada and Surrealist Film, MIT Press, 1996.
  • Il cinema d'avanguardia: 1910-1930, Venezia: Marsilio, 1997. (in Italian)
  • Wheeler W. Dixon, The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema, Albany: State University of New York Press, 1998.
  • 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)
  • Scott MacDonald, A Critical Cinema: Interviews with Independent Filmmakers, 5 vols, Berkeley: University of California Press, 1988–2005. 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.
  • 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 expérimental, 2003. (in French)
  • 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. [12]
  • 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. [13]
  • 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. [14]
  • 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, Berlin/New York: Sternberg, 2007. (in English/German) [15]
  • Duncan Reekie, Subversion: The Definitive History of Underground Cinema, London: Wallflower Press 2007.
  • 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)
  • 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. [16]
  • Malcolm Turvey, The Filming of Modern Life: European Avant-Garde Film of the 1920s, MIT Press, 2011.

Bibliographies

Resources

See also


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