Peter Gidal (ed.): Structural Film Anthology (1976/1978)

“This anthology of texts about what have been termed Structural Films attempts to bring together some of the more important essays and articles on those films which have formed the core of film work in this field since its inception. It is a first attempt to bring together texts from Europe, Britain and the United States. In the past we have been inundated with the parochial, American view of avant-garde film work, as expounded on both sides of the Atlantic. This anthology was published to coincide with the series of eighteen programmes, Structural Film Retrospective, at the National Film Theatre, London, in May 1976.

As it happened, no film-maker was included in the programmes who had not produced relevant work before 1971, though many works were from after that year. No new films were introduced; this was a retrospective programme intended to enable a viewing that saw each film in the context of each other film, that could recognise alliances and misalliances between films, that could attempt to deal with the individual filmworks and the critical practice which preceded or followed.

In some cases, the critical practice here is a virtually complete repression through ideology of the text of the film; in the gaps presented work can now take place. The lengths of the sections are dictated by the materials of interest available, and unfortunately in a few cases only very slight material existed. I hope that the selection will not offend; the younger Americans have been left out, as have many of the younger British, because of the wish for a solid retrospective programme as elucidated above. No doubt there are quite a few film-makers completely unknown to me, and to nearly everyone else, who have done and may be doing very important work, and whose work remains ‘out of view’ for a variety of sociological reasons, none of which are praiseworthy. I wish to thank all the film-makers and writers, obviously.

For this reprint nothing has been changed, though a few minor errors have been corrected and Ben Brewster’s review of the Anthology inScreen has been included as an afterward. I call attention to the ‘Theory and Definition of Structural/Materialist Film’ article in its original form in Studio International (November 1975), and to Deke Dusinberre’s article relating to it in Screen (Summer 1977). P.G., January 1978” (Introduction)

With an introduction by Peter Gidal
Publisher British Film Institute, London, 1976; reprint from 1978
ISBN 0 85170 0535
144 pages

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Anri Sala: Entre chien et loup / When the Night Calls it a Day (2004) [French/English]

Cette publication a été réalisée à l’occasion de l’exposition de Anri Sala Entre chien et loup au Musée d’art moderne de la Ville de Paris du 25 mars au 16 mai 2004. Pour la première fois, ce livre témoigne de la diversité de l’oeuvre d’Anri Sala, qui s’est imposé très vite comme un des acteurs majeurs de l’art d’aujourd’hui. Anri Sala, né à Tirana, en 1974, explore le politique dans un travail où la composante esthétique reste essentielle.

Contributions by Suzanne Pagé, Laurence Bossé, Hans Ulrich Obrist, Julia Garimorth, Patricia Falguières, Jacques Rancière, Israel Rosenfield, Alexandre .. Daniel Costanzo, Molly Nesbit, Philippe Parreno

This publication accompanies the exhibition of Anri Sala “Entre chien et loup” held by Musée d’art moderne de la ville de Paris from March 25 until May 16, 2004.
Coordination Julia Garimorth
Publisher Verlag der Buchhandlung Walther König, Cologne, 2004
ISBN 388375806X, 9783883758060
200 pages

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Miklós Peternák, Éva Kozma (eds.): Bauhaus Lab, Film Workshop, Budapest (2010) [English/Hungarian]

Publication from the workshops and presentations dedicated to László Moholy-Nagy, held in 2009 in Budapest.

Publisher C3 Center for Culture and Communication, Budapest, 2010
ISBN 9789638879202
85 pages

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