Filed under book | Tags: · cinema, film, film criticism, film history, subversion, video, yugoslavia
This book contains transcripts from two roundtable discussions held during the 2016 and 2017 editions of Alternative Film/Video festival in Belgrade. The themes included the relation of alternative cinema art movements (2016) and subversion (2017).
Participants include Hito Steyerl, Marina Gržinić, Eve Heller, Želimir Žilnik, Peter Tscherkassky, Božidar Zečević, Miloš Miša Radivojević, Zoran Saveski, Lordan Zafranović, Slobodan Šijan, Dejan Sretenović, Greg deCuir, Jr., Bojan Jovanović, Petra Belc, Sebestyén Kodolányi, Miroslav Bata Petrović, Miroljub Stojanović, Bruce Checefsky, Miroslav Bata Petrović, Tomaso Aramini, Zoran Saveski, and Miodrag Milošević.
Publisher Students’ City Cultural Center, Belgrade, 2018
via Academic Film Center
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Filed under book | Tags: · art history, cinema, contemporary art, exhibition, expanded cinema, film, film history, lettrism
“Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art.
Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.”
Publisher University of Chicago Press, 2014
ISBN 9780226842981, 0226842983
Reviews: Amanda Egbe (Leonardo, 2014), Rick Sieber (ARLIS/NA Reviews, 2014), Matilde Nardelli (Visual Studies, 2015), Kenneth White (CAA Reviews, 2015), Michael Zryd (Millennium Film Journal, 2015), Riccardo Venturi (Critique d’art, 2016, French).Comment (0)
Apparatus, 6: Women at the Editing Table: Revising Soviet Film History of the 1920s and 1930s (2018)
Filed under journal | Tags: · avant-garde, cinema, editing, film, film history, montage, women
“The construction of the historical narrative of film editing has the cultural invisibility of women and of collaborators embedded within it. Film histories regularly spend whole chapters describing editing as a significant revolution in the medium. However, while the names of “great directors” are evoked in these discussions, the names of editors are not mentioned: “…for the most part, the women who cut film in the silent era remained unacknowledged in film credits or the trade press. Their work was considered to be merely technical rather than creative.” […]
Collectively, the articles in this issue are shifting understanding of the editor’s work from ‘merely’ technical or ‘just helping’, which is a gendered erasure of women’s work, to understanding it as expert collaboration in filmmaking. In other words, creative work. Why is this important? Because by obscuring the creativity of the work of the hands of women who watched, sorted, cut and pasted frames of film together we obscure the women themselves.” (from Editorial)
Texts by Karen Pearlman, John MacKay, and John Sutton, Lilya Kaganovsky, Natalie Ryabchikova, Nikolai Izvolov, Adelheid Heftberger, and Esfir Shub.
Edited by Karen Pearlman and Adelheid Heftberger
Publisher Apparatus, Berlin, August 2018