October 46: Alexander Kluge: Theoretical Writings, Stories and an Interview (1988)

“This special issue of October, which serves as the catalogue of the retrospective exhibition of Kluge’s films I have organized for Anthology Film Archives and Goethe House, New York, has been prepared with the conviction that Kluge’s “cinematic variety show”–tied as it is to a much larger project encompassing his fiction, social theory, film theory, television programs, and political action on various cultural fronts–constitutes a unique venture in the annals of postwar German culture. Kluge’s is a radical cinéma impur, situated at the farthest possible remove from that conception of an autonomous, “pure” cinema which defines itself in opposition both to mass cultural film practices and to the terms and strategies of other modernist art forms developed since the 1920s. The motives, themes, and formal strategies of Kluge’s project raise questions in diverse areas of concern to us: about representation and gender, about history and memory, about theory in its relation to practice, about the ongoing vitality of one of his great modernism. Moreover, the work of Kluge is formulated–as one of his great precursors Walter Benjamin would have hoped–with an acute awareness of the most advanced “technical” means of production available as well as of the social circumstances in which production takes place in advanced industrial societies today.” (Stuart Liebman in the introductory essay)

Contains Liebman’s interview with Kluge conducted in 1986-87, selections from Oskar Negt and Kluge’s The Public Sphere and Experience (published in German in 1972), the essay “Word and Film” by Edgar Reitz, Kluge, and Wilfried Reinke (1965), “Why Should Film and Television Cooperate?” (1987), selections from New Stories, Notebooks 1-18 (1977), and the essays by Andreas Huyssen, Heide Schlüpmann, Fredric Jameson, Miriam Hansen, Stuart Liebman, filmography, videography, and bibliography.

Edited by Stuart Liebman
Publisher MIT Press, Fall 1988
ISSN 0162-2870
ISBN 0262751968
218 pages

PDF (13 MB, updated 2015-5-10)

See also New German Critique 49: Special Issue on Alexander Kluge, 1990.
Kluge at Monoskop wiki

On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton (2009)

“As Hollis Frampton’s photographs and celebrated experimental films were testing the boundaries of the camera arts in the 1960s and 1970s, his provocative and highly literate writings were attempting to establish an intellectually resonant form of discourse for these critically underexplored fields. It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art. This collection of Frampton’s writings presents his critical essays (many written for Artforum and October) along with additional material, including lectures, correspondence, interviews, production notes, and scripts. It supersedes Circles of Confusion, published in 1983.

Frampton ranged widely over the visual arts in his writing, and the texts in this collection display his distinctive perspectives on photography, film, video, and the plastic and literary arts. They include critically acclaimed essays on Edward Weston and Eadweard Muybridge as well as appraisals of contemporary photographers; the influential essay “For a Metahistory of Film,” along with scripts, textual material, and scores for his films; writings on video that constitute a veritable prehistory of the digital arts; a dialogue with Carl Andre (his friend and former Phillips Andover classmate) from the early 1960s; and two inventive, almost unclassifiable pieces that draw on the writings of Borges, Joyce, and Beckett.”

Edited with an Introduction by Bruce Jenkins
Publisher MIT Press, 2009
Writing Art series
ISBN 0262062763, 9780262062763
331 pages

Experimental film at Monoskop wiki

Review (Matt Packer, Experimental Conversations)
Review (Mike Leggett, Leonardo)
Review (Michael Zryd, Film Studies)
Review (David Sterritt, Film Quarterly)
Review (John Klacsmann, The Moving Image)
Review (Keith Sanborn, The Brooklyn Rail)
Review (Melissa Gronlund, Frieze)

Publisher

PDF

Cahiers du Cinéma, vols. 1–4 (1951–78/1985–2000) & Special Issues in English (1966-67)

Cahiers du Cinéma [Notebooks on Cinema] is an influential French film magazine founded in 1951 by André Bazin, Jacques Doniol-Valcroze and Joseph-Marie Lo Duca. It developed from the earlier magazine Revue du Cinéma involving members of two Paris film clubs—Objectif 49 (Robert Bresson, Jean Cocteau and Alexandre Astruc, among others) and Ciné-Club du Quartier Latin. Initially edited by Éric Rohmer, it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol and François Truffaut. (from Wikipedia)

This set of four volumes presents selected texts from the years 1951-1978 in English translation.

Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave
An anthology from Cahiers du Cinéma, nos 1–102, April 1951 – December 1959
Edited by Jim Hillier
Publisher Harvard University Press, 1985
ISBN 0674090608
312 pages

Cahiers du Cinéma: 1960-1968: New Wave, New Cinema, Reevaluating Hollywood
An anthology from Cahiers du Cinéma, nos 103–207, January 1960 – December 1968
Edited by Jim Hillier
Publisher Harvard University Press, 1986
ISBN 0674090624
363 pages

Cahiers du Cinéma, Volume 3: 1969-1972: The Politics of Representation
An anthology from Cahiers du Cinéma, nos 210–239, March 1969 – June 1972
Edited by Nick Browne
Publisher Routledge, in association with the British Film Institute, 1990
ISBN 0415029872
352 pages

Cahiers du Cinema, Volume 4: 1973-1978: History, Ideology, Cultural Struggle
An anthology from Cahiers du Cinéma, nos 248–292, September 1973 – September 1978
Edited by David Wilson
With an Introduction by Bérénice Reynaud
Publisher Routledge, in association with the British Film Institute, 2000
ISBN 0415029880
323 pages

Publishers: Volume 1, Volume 2, Volume 3, Volume 4.

Volume 1 (1950s)
Volume 2 (1960-1968)
Volume 3 (1969-1972)
Volume 4 (1973-1978)

Cahiers du Cinema in English, ed. Andrew Sarris:
Number 1 (Jan 1966, 74 pp, 57 MB, via chef, added 2015-1-11),
Number 2 (Mar 1966, 82 pp, 65 MB, via chef, added 2015-1-12),
Number 3 (May 1966, 74 pp, 63 MB, via chef, added 2015-1-16),
Number 4 (Jul 1966, 66 pp, 57 MB, via chef, added 2015-1-16),
Number 5 (Sep 1966, 65 pp, 56 MB, via chef, added 2015-1-16),
Number 6 (Dec 1966, 66 pp, 57 MB, via chef, added 2015-1-16),
Number 7 (Jan 1967, 66 pp, 61 MB, via chef, added 2015-1-16),
Number 8 (Feb 1967, 68 pp, 44 MB, via LtJ),
Number 9 (Mar 1967, 65 pp, 59 MB, via chef, added 2015-1-17),
Number 10 (May 1967, 68 pp, 43 MB, via LtJ),
Number 11 (Sep 1967, 68 pp, 43 MB, via LtJ)
Number 12 (Dec 1967, 66 pp, 60 MB, via chef, added 2015-1-18)

See also: Daniel Fairfax: The Red Years of Cahiers du cinéma, 1968-1973 (2021).