Filed under magazine | Tags: · cinema, film, film criticism
“Wolf André Oleg ‘Andi’ Engel was the kind of man to invent a magazine (Enthusiasm) and a distribution company (Politkino) in order to spread the ideas and cinema of Straub/Huillet. He was also the kind of man to make issue Number 2 of Enthusiasm 30 years after the fact of Number 1. In those intervening 30 years Engel created the distribution company Artificial Eye with his wife Pamela Balfry — one of the most important distributors of world cinema anywhere.” (Source)
Edited and published by Andi Engel with Pam Engel, London, Dec 1975
via New Wave Films
PDF (41 MB)Comment (0)
Filed under book | Tags: · avant-garde, body, cinema, experimental film, feminism, film, film criticism, film history, women
“Women’s Experimental Cinema provides lively introductions to the work of fifteen avant-garde women filmmakers, some of whom worked as early as the 1950s and many of whom are still working today. In each essay in this collection, a leading film scholar considers a single filmmaker, supplying biographical information, analyzing various influences on her work, examining the development of her corpus, and interpreting a significant number of individual films. The essays rescue the work of critically neglected but influential women filmmakers for teaching, further study, and, hopefully, restoration and preservation. Just as importantly, they enrich the understanding of feminism in cinema and expand the terrain of film history.
The contributors examine the work of Marie Menken, Joyce Wieland, Gunvor Nelson, Yvonne Rainer, Carolee Schneemann, Barbara Rubin, Amy Greenfield, Barbara Hammer, Chick Strand, Marjorie Keller, Leslie Thornton, Abigail Child, Peggy Ahwesh, Su Friedrich, and Cheryl Dunye. The essays highlight the diversity in these filmmakers’ forms and methods, covering topics such as how Menken used film as a way to rethink the transition from abstract expressionism to Pop Art in the 1950s and 1960s, how Rubin both objectified the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, including a tendency toward documentary rather than fiction and a commitment to nonhierarchical, collaborative production practices. The volume’s final essay focuses explicitly on teaching women’s experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by suggesting alternative films for classroom use.”
Contributors: Paul Arthur, Robin Blaetz, Noël Carroll, Janet Cutler, Mary Ann Doane, Robert A. Haller, Chris Holmlund, Chuck Kleinhans, Scott MacDonald, Kathleen McHugh, Ara Osterweil, Maria Pramaggiore, Melissa Ragona, Kathryn Ramey, M. M. Serra, Maureen Turim, William C. Wees.
Publisher Duke University Press, Durham, NC, 2007
ISBN 9780822340232, 0822340232
Reviews: Harriet Margolis (NWSA Journal, 2009), Beth Hutchison (Signs, 2009), Gwendolyn Audrey Foster (Quarterly Review of Film and Video, 2011), Jan-Christopher Horak (Screening the Past, 2008), David Sterritt (Cineaste, 2008), Phoebe Hart (M/C Reviews, 2008).Comment (0)
Filed under zine | Tags: · cinema, experimental film, film
“L’ébouillanté came into existence at the onset of the online era. The zine was created following a meeting of film labs in Grenoble in 1995 and published by the participating labs. The publication served as an informational link between labs and a source of technical and practical knowledge for materials on cinema.
It was conducted by, amongst others, L’Abominable (Paris), Mire (Nantes), MTK (Grenoble), Les films de la belle de mai (Marseille), Elu par cette crapule (Le Havre), Molodoi (Strasbourg), Zebra Lab (Geneva), Studio Een (Rotterdam), and Kino-Trotter (Brussels).”Comment (0)