Jean-Marie Straub y Danièle Huillet: hacer la revolución es volver a colocar en su sitio cosas muy antiguas pero olvidadas (2016) [Spanish]

15 December 2016, dusan

“Primera monografía en español dedicada al cine de Jean-Marie Straub y Danièle Huillet, editada con motivo de la retrospectiva completa que el Museo dedicara a ambos cineastas en 2016. El libro es un proyecto complementario pero autónomo al ciclo y se concibe como una caja de herramientas para aproximarse desde diferentes perspectivas a un proyecto fílmico tan radical y exigente como el de Straub-Huillet. De esta manera, la crítica de Serge Daney se cita con el ensayo filosófico de Jacques Rancière y el análisis del paisaje de Santos Zunzunegui convive con la mirada a la historia de Jean Narboni. El estudio de los títulos de Manuel Ramos y una amplia entrevista cierran el libro. Complementan el volumen dos documentos de Glauber Rocha y Peter Handke, un epílogo de Pedro Costa y la filmografía completa en castellano.”

Autores: Manuel Asín, Chema González, Glauber Rocha, Serge Daney, Jean Narboni, Peter Handke, Jacques Rancière, Santos Zunzunegui, Manuel Ramos Martínez y François Albera.

Publisher Museo Nacional Centro de Arte Reina Sofía, Madrid, 2016
ISBN 9788480265430
238 pages



Culture as Organization in Early Soviet Thought: Bogdanov, Eisenstein, and the Proletkult (2016)

27 October 2016, dusan

“This anthology brings together a group of film researchers, historians, political scientists and systems scientists to discuss historical and contemporary tangential points between the sciences and the arts in Russia during the first decades of the twentieth century. All chapters provide new insights into linkages between the arts, philosophy and other disciplines during this period. Tangential points between early Russian systems thinking and approaches to montage that were being developed within the film community are examined in detail. The contributing authors focus on two thinkers: the filmmaker, Sergei M. Eisenstein and the systems theorist, Aleksandr A. Bogdanov.”

The book is published in an interactive format inspired by Eisenstein’s idea of the “Spherical Book”, organising chapters in a thematic modular way, allowing for multiple reading perspectives.

Edited by Pia Tikka, with John Biggart, Vesa Oittinen, Giulia Rispoli, and Maja Soboleva
Publisher Aalto University School of Arts Design and Architecture, Helsinki, 2016
Tangential Points series
ISBN 9789526000763


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Volker Pantenburg: Farocki/Godard: Film as Theory (2006/2015)

18 July 2016, dusan

“There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking.

This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create ‘film as theory’.”

First published as Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard, transcript, Bielefeld, 2006.

Translated by Michael Turnbull
Publisher Amsterdam University Press, 2015
Film Culture in Transition series
Creative Commons BY-NC-ND 3.0 License
ISBN 9789089648914
285 pages

Reviews: Dietmar Kammerer (, 2006, DE), Toni Hildebrandt (Senses of Cinema, 2015), Alex Fletcher (Review31, 2015), Chiara Marchini (Medienwissenschaft, 2016).



Sergei M. Eisenstein: Notes for a General History of Cinema (2016)

17 June 2016, dusan

“This comprehensive volume of Eisenstein’s writings is the first-ever English-language edition of his newly discovered notes for a general history of the cinema, a project he undertook in 1946-47 before his death in 1948. In his writings, Eisenstein presents the main coordinates of a history of the cinema without mentioning specific directors or films: what we find instead is a vast genealogy of all the media and of all the art forms that have preceded cinema’s birth and accompanied the first decades of its history, exploring the same expressive possibilities that cinema has explored and responding to the same, deeply rooted, “urges” cinema has responded to. Cinema appears here as the heir of a very long tradition that includes death masks, ritual processions, wax museums, diorama and panorama, and as a medium in constant transformation, that far from being locked in a stable form continues to redefine itself.

The texts by Eisenstein are accompanied by a series of critical essays written by some of the world’s most qualified Eisenstein scholars.”

Edited by Naum Kleiman and Antonio Somaini
Publisher Amsterdam University Press, Amsterdam, 2016
Creative Commons BY-NC-ND 3.0
ISBN 9789048517114
545 pages



Annie van den Oever (ed.): Ostrannenie: On ‘Strangeness’ and the Moving Image: The History, Reception, and Relevance of a Concept (2010)

11 June 2016, dusan

“Ostrannenie (‘making it strange’) has become one of the central concepts of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the ‘Russian Formalist’ Viktor Shklovsky in 1917, ostrannenie has come to resonate deeply in Film Studies, where it entered into dialogue with the Brechtian concept of Verfremdung, the Freudian concept of the uncanny and Derrida’s concept of différance. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry. European Film Studies ­ ‘The Key Debates is a new film series from Amsterdam University Press edited by Annie van den Oever (the founding editor), Ian Christie and Dominique Chateau. The editors’ ambition is to uncover and track the process of appropriation of critical terms in film theory in order to give the European film heritage the attention it deserves. With contributions from Ian Christie, Yuri Tsivian, Dominique Chateau, Frank Kessler, Laurent Jullier, Miklós Kiss, Annie van den Oever, Emile Poppe, László Tarnay, Barend van Heusden, András Bálint Kovács, and Laura Mulvey, this important study is a wonderful piece of imaginative yet rigorous scholarship.”

Publisher Amsterdam University Press, Amsterdam, 2010
The Key Debates series, 1
Creative Commons BY-NC-ND 3.0 License
ISBN 9089640797, 9789089640796
278 pages

Reviews: Simon Spiegel (Projections, 2011), Lara Cox (Film-Philosophy, 2011), Sanna Peden (Studies in European Cinema, 2015).



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