William C. Wees: Recycled Images: The Art and Politics of Found Footage Films (1993)
Filed under book | Tags: · appropriation, cinema, collage, experimental film, film, film theory, montage, politics
An important film-theoretical work, especially significant for its attempt to delimit the phenomenon of found footage film.
Includes condensed commentary from author’s 1991 informal interviews with North American filmmakers who have made extensive use of found footage: Craig Baldwin, Abigail Child, Bruce Conner, David Rimmer, Keith Sanborn, Chick Strand, and Leslie Thornton.
Published in conjuction with the Anthology Film Archives’ May 1993 survey of found footage and collage films.
Publisher Anthology Film Archives, New York City, 1993
ISBN 0911689192, 9780911689198
117 pages
via Alex Costa
Commentary: Pierre Rannou (Esse, 2008).
PDF (32 MB)
Comment (0)Peter Rist, Timothy Barnard (eds.): South American Cinema: A Critical Filmography, 1915-1994 (1996)
Filed under book | Tags: · cinema, film, film criticism, film history, south america
“A team of contributors has compiled entries on 140 significant South American feature and documentary films from the silent era until 1994. The entries discuss each film’s subject matter, critical reception, and social and political contexts, as well as its production, distribution, and exhibition history, including technical credits.”
Publisher Garland Publishing, New York and London, 1996
ISBN 0824045742, 9780824045746
xx+405 pages
PDFs (from editor; access has been disabled, version at Internet Archive, access disabled as well)
Comments (3)Konstantin Akinsha: The Second Life of Soviet Photomontage, 1935-1980s (2012)
Filed under book | Tags: · art, art history, avant-garde, cinema, constructivism, film, ideology, montage, photography, photomontage, politics, propaganda, russia, socialist realism, soviet union
“This dissertation explores the development of Soviet photomontage from the second half of the 1930s to the end of the 1970s. Until now, the transformation of the modernist medium and its incorporation into the everyday practice of Soviet visual propaganda during and after the Second World War has not attracted much scholarly attention. The firm association of photomontage with the Russian avant-garde in general, and with Constructivism in particular, has led art historians to disregard the fact that the medium was practised in the USSR until the final days of the Soviet system. The conservative government organisations in control of propaganda preserved satirical photomontage in its post-Dadaist phase and Heartfield-like form, finding it useful in the production of negative propaganda.”
Doctor of Philosophy Dissertation
University of Edinburgh, 2012
328 pages + 368 pages of illustrations
PDF (29 MB)
Comment (0)