LEADER 14898nam 2201069 450 001 9910821412003321 005 20220915232516.0 010 $a0-520-95741-5 024 7 $a10.1525/9780520957411 035 $a(CKB)3710000000092495 035 $a(EBL)1650802 035 $a(SSID)ssj0001132187 035 $a(PQKBManifestationID)11627940 035 $a(PQKBTitleCode)TC0001132187 035 $a(PQKBWorkID)11147192 035 $a(PQKB)11385211 035 $a(OCoLC)873805823 035 $a(OCoLC)894795921 035 $a(MdBmJHUP)muse32365 035 $a(DE-B1597)518855 035 $a(OCoLC)891394389 035 $a(DE-B1597)9780520957411 035 $a(Au-PeEL)EBL1650802 035 $a(CaPaEBR)ebr10846223 035 $a(CaONFJC)MIL581100 035 $a(MiAaPQ)EBC1650802 035 $a(PPN)182229564 035 $a(EXLCZ)993710000000092495 100 $a20140908h20142014 uy| 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aFilm manifestos and global cinema cultures$b[electronic resource] $ea critical anthology /$fScott MacKenzie 210 1$aBerkeley ;$aLondon :$cUniversity of California Press,$d[2014] 210 4$d©2014 215 $a1 online resource (675 p.) 300 $aIncludes index. 311 0 $a0-520-27674-4 320 $aIncludes bibliographical references and index. 327 $tFilm Manifestos and Global Cinema Cultures --$tFront matter --$tCONTENTS --$tACKNOWLEDGMENTS --$tINTRODUCTION --$t1. THE AVANT-GARDE(S) --$tTHE FUTURIST CINEMA (Italy, 1916) --$tLENIN DECREE (USSR, 1919) --$tTHE ABCs OF CINEMA (France, 1917-1921) --$tWE: VARIANT OF A MANIFESTO (USSR, 1922) --$tTHE METHOD OF MAKING WORKERS' FILMS (USSR, 1925) --$tCONSTRUCTIVISM IN THE CINEMA (USSR, 1928) --$tPREFACE: UN CHIEN ANDALOU (France, 1928) --$tMANIFESTO OF THE SURREALISTS CONCERNING L'AGE D'OR (France, 1930) --$tMANIFESTO ON "QUE VIVA MEXICO" (USA, 1933) --$tSPIRIT OF TRUTH (France, 1933) --$tAN OPEN LETTER TO THE FILM INDUSTRY AND TO ALL WHO ARE INTERESTED IN THE EVOLUTION OF THE GOOD FILM (Hungary, 1934) --$tLIGHT*FORM*MOVEMENT *SOUND (USA, 1935) --$tPROLEGOMENA FOR ALL FUTURE CINEMA (France, 1952) --$tNO MORE FLAT FEET! (France, 1952) --$tTHE LETTRISTES DISAVOW THE INSULTERS OF CHAPLIN (France, 1952) --$tTHE ONLY DYNAMIC ART (USA, 1953) --$tA STATEMENT OF PRINCIPLES (USA, 1961) --$tTHE FIRST STATEMENT OF THE NEW AMERICAN CINEMA GROUP (USA, 1961) --$tFOUNDATION FOR THE INVENTION AND CREATION OF ABSURD MOVIES (USA, 1962) --$tFROM METAPHORS ON VISION (USA, 1963) --$tKUCHAR 8mm FILM MANIFESTO (USA, 1964) --$tFILM ANDEPANDAN [INDEPENDENTS] MANIFESTO (Japan, 1964) --$tDISCONTINUOUS FILMS (Canada, 1967) --$tHAND-MADE FILMS MANIFESTO (Australia, 1968) --$tCINEMA MANIFESTO (Australia, 1971) --$tFOR A METAHISTORY OF FILM: COMMONPLACE NOTES AND HYPOTHESES (USA, 1971) --$tELEMENTS OF THE VOID (Greece, 1972) --$tSMALL GAUGE MANIFESTO (USA, 1980) --$tCINEMA OF TRANSGRESSION MANIFESTO (USA, 1985) --$tMODERN, ALL TOO MODERN (USA, 1988) --$tOPEN LETTER TO THE EXPERIMENTAL FILM CONGRESS: LET'S SET THE RECORD STRAIGHT (Canada, 1989) --$tANTI-100 YEARS OF CINEMA MANIFESTO (USA, 1996) --$tTHE DECALOGUE (Czech Republic, 1999) --$tYOUR FILM FARM MANIFESTO ON PROCESS CINEMA (Canada, 2012) --$t2. NATIONAL AND TRANSNATIONAL CINEMAS --$tFROM "THE GLASS EYE" (Italy, 1933) --$tTHE ARCHERS' MANIFESTO (UK, 1942) --$tWHAT IS WRONG WITH INDIAN FILMS? (India, 1948) --$tBUÑUEL THE POET (Mexico, 1951) --$tFRENCH CINEMA IS OVER (France, 1952) --$tSOME IDEAS ON THE CINEMA (Italy, 1953) --$tA CERTAIN TENDENCY IN FRENCH CINEMA (France, 1954) --$tSALAMANCA MANIFESTO & CONCLUSIONS OF THE CONGRESS OF SALAMANCA (Spain, 1955) --$tFREE CINEMA MANIFESTOS (UK, 1956-1959) --$tTHE OBERHAUSEN MANIFESTO (West Germany, 1962) --$tUNTITLED [OBERHAUSEN 1965] (West Germany, 1965) --$tTHE MANNHEIM DECLARATION (West Germany, 1967) --$tSITGES MANIFESTO (Spain, 1967) --$tHOW TO MAKE A CANADIAN FILM (Canada, 1967) --$tHOW TO NOT MAKE A CANADIAN FILM (Canada, 1967) --$tFROM "THE ESTATES GENERAL OF THE FRENCH CINEMA, MAY 1968" (France, 1968) --$tMANIFESTO OF THE NEW CINEMA MOVEMENT (India, 1968) --$tWHAT IS TO BE DONE? (France, 1970) --$tTHE WINNIPEG MANIFESTO (Canada, 1974) --$tHAMBURG DECLARATION OF GERMAN FILMMAKERS (West Germany, 1979) --$tMANIFESTO I (Denmark, 1984) --$tMANIFESTO II (Denmark, 1987) --$tMANIFESTO III: I CONFESS! (Denmark, 1990) --$tTHE CINEMA WE NEED (Canada, 1985) --$tPATHWAYS TO THE ESTABLISHMENT OF A NIGERIAN FILM INDUSTRY (Nigeria, 1985) --$tMANIFESTO OF 1988 (German Democratic Republic, 1988) --$tIN PRAISE OF A POOR CINEMA (Scotland, 1993) --$tDOGME '95 MANIFESTO AND VOW OF CHASTITY (Denmark, 1995) --$tI SINEMA MANIFESTO (Indonesia, 1999) --$t3. THIRD CINEMAS, COLONIALISM, DECOLONIZATION, AND POSTCOLONIALISM --$tMANIFESTO OF THE NEW CINEMA GROUP (Mexico, 1961) --$tCINEMA AND UNDERDEVELOPMENT (Argentina, 1962) --$tTHE AESTHETICS OF HUNGER (Brazil, 1965) --$tFOR AN IMPERFECT CINEMA (Cuba, 1969) --$tTOWARDS A THIRD CINEMA: NOTES AND EXPERIENCES FOR THE DEVELOPMENT OF A CINEMA OF LIBERATION IN THE THIRD WORLD (Argentina, 1969) --$tFILM MAKERS AND THE POPULAR GOVERNMENT POLITICAL MANIFESTO (Chile, 1970) --$tCONSCIOUSNESS OF A NEED (Uruguay, 1970) --$tMILITANT CINEMA: AN INTERNAL CATEGORY OF THIRD CINEMA (Argentina, 1971) --$tFOR COLOMBIA 1971: MILITANCY AND CINEMA (Colombia, 1971) --$tTHE CINEMA: ANOTHER FACE OF COLONISED QUÉBEC (Canada, 1971) --$t8 MILLIMETERS VERSUS 8 MILLIONS (Mexico, 1972) --$tMANIFESTO OF THE PALESTINIAN CINEMA GROUP (Palestine, 1973) --$tRESOLUTIONS OF THE THIRD WORLD FILMMAKERS MEETING (Algeria, 1973) --$tTHE LUZ E AÇÃO MANIFESTO (Brazil, 1973) --$tPROBLEMS OF FORM AND CONTENT IN REVOLUTIONARY CINEMA (Bolivia, 1976) --$tMANIFESTO OF THE NATIONAL FRONT OF CINEMATOGRAPHERS (Mexico, 1975) --$tTHE ALGIERS CHARTER ON AFRICAN CINEMA (Algeria, 1975) --$tDECLARATION OF PRINCIPLES AND GOALS OF THE NICARAGUAN INSTITUTE OF CINEMA (Nicaragua, 1979) --$tWHAT IS THE CINEMA FOR US? (Mauritania, 1979) --$tNIAMEY MANIFESTO OF AFRICAN FILMMAKERS (Niger, 1982) --$tBLACK INDEPENDENT FILMMAKING: A STATEMENT BY THE BLACK AUDIO FILM COLLECTIVE (UK, 1983) --$tFROM BIRTH CERTIFICATE OF THE INTERNATIONAL SCHOOL OF CINEMA AND TELEVISION IN SAN ANTONIO DE LOS BAÑOS, CUBA, NICKNAMED THE SCHOOL OF THREE WORLDS (Cuba, 1986) --$tFeC AViP MANIFESTO (France, 1990) --$tFINAL COMMUNIQUE OF THE FIRST FRONTLINE FILM FESTIVAL AND WORKSHOP (Zimbabwe, 1990) --$tPOCHA MANIFESTO #1 (USA, 1994) --$tPOOR CINEMA MANIFESTO (Cuba, 2004) --$tJOLLYWOOD MANIFESTO (Haiti, 2008) --$tTHE TORONTO DECLARATION: NO CELEBRATION OF OCCUPATION (Canada, 2009) --$t4. GENDER, FEMINIST, QUEER, SEXUALITY, AND PORN MANIFESTOS --$tWOMAN'S PLACE IN PHOTOPLAY PRODUCTION (USA, 1914) --$tHANDS OFF LOVE (France, 1927) --$tTHE PERFECT FILMIC APPOSITENESS OF MARIA MONTEZ (USA, 1962) --$tON FILM NO. 4 (IN TAKING THE BOTTOMS OF 365 SAINTS OF OUR TIME) (UK, 1967) --$tSTATEMENT (USA, 1969) --$tWET DREAM FILM FESTIVAL MANIFESTO (The Netherlands, 1970) --$tWOMEN'S CINEMA AS COUNTERCINEMA (UK, 1973) --$tMANIFESTO FOR A NON-SEXIST CINEMA (Canada, 1974) --$tWOMANIFESTO (USA, 1975) --$tVISUAL PLEASURE AND NARRATIVE CINEMA (UK, 1975) --$tAN EGRET IN THE PORNO SWAMP: NOTES OF SEX IN THE CINEMA (Sweden, 1977) --$tFOR THE SELF-EXPRESSION OF THE ARAB WOMAN (France, 1978) --$tMANIFESTO OF THE WOMEN FILMMAKERS (West Germany, 1979) --$tWIMMIN'S FIRE BRIGADE COMMUNIQUÉ (Canada, 1982) --$tTHOUGHTS ON WOMEN'S CINEMA: EATING WORDS, VOICING STRUGGLES (USA, 1986) --$tTHE POST PORN MODERNIST MANIFESTO (USA, 1989) --$tSTATEMENT OF AFRICAN WOMEN PROFESSIONALS OF CINEMA, TELEVISION AND VIDEO (Burkina Faso, 1991) --$tPUZZY POWER MANIFESTO: THOUGHTS ON WOMEN AND PORNOGRAPHY (Denmark, 1998) --$tCINEMA WITH TITS (Spain, 1998) --$tMY PORN MANIFESTO (France, 2002) --$tNO MORE MR. NICE GAY: A MANIFESTO (USA, 2009) --$tBAREFOOT FILMMAKING MANIFESTO (UK, 2009) --$tDIRTY DIARIES MANIFESTO (Sweden, 2009) --$t5. MILITATING HOLLYWOOD --$tCODE TO GOVERN THE MAKING OF TALKING, SYNCHRONIZED AND SILENT MOTION PICTURES (MOTION PICTURE PRODUCTION CODE) (USA, 1930) --$tRED FILMS: SOVIETS SPREADING DOCTRINE IN U.S. THEATRES (USA, 1935) --$tSTATEMENT OF PRINCIPLES (USA, 1944) --$tSCREEN GUIDE FOR AMERICANS (USA, 1947) --$tWHITE ELEPHANT ART VS. TERMITE ART (USA, 1962) --$tSUPER FLY: A SUMMARY OF OBJECTIONS BY THE KUUMBA WORKSHOP (USA, 1972) --$tFULL FRONTAL MANIFESTO (USA, 2001) --$t6. THE CREATIVE TREATMENT OF ACTUALITY --$tTOWARDS A SOCIAL CINEMA (France, 1930) --$tFROM "FIRST PRINCIPLES OF DOCUMENTARY" (UK, 1932) --$tMANIFESTO ON THE DOCUMENTARY FILM (UK, 1933) --$tDECLARATION OF THE GROUP OF THIRTY (France, 1953) --$tINITIAL STATEMENT OF THE NEWSREEL (USA, 1967) --$tNOWSREEL, OR THE POTENTIALITIES OF A POLITICAL CINEMA (USA, 1970) --$tDOCUMENTARY FILMMAKERS MAKE THEIR CASE (Poland, 1971) --$tTHE ASIAN FILMMAKERS AT YAMAGATA YIDFF MANIFESTO (Japan, 1989) --$tMINNESOTA DECLARATION: TRUTH AND FACT IN DOCUMENTARY CINEMA (Germany, 1999) --$tDEFOCUS MANIFESTO (Denmark, 2000) --$tKILL THE DOCUMENTARY AS WE KNOW IT (USA, 2002) --$tETHNOGRAPHIC CINEMA (EC): A MANIFESTO / A PROVOCATION (USA, 2003) --$tREALITY CINEMA MANIFESTO (Russia, 2005) --$tDOCUMENTARY MANIFESTO (USA, 2008) --$tCHINA INDEPENDENT FILM FESTIVAL MANIFESTO: SHAMANS * ANIMALS (People's Republic of China, 2011) --$t7. 327 $tSTATES, DICTATORSHIPS, THE COMINTERN, AND THEOCRACIES --$tCAPTURE THE FILM! HINTS ON THE USE OF, OUT OF THE USE OF, PROLETARIAN FILM PROPAGANDA (USA, 1925) --$tTHE LEGION OF DECENCY PLEDGE (USA, 1934) --$tCREATIVE FILM (Germany, 1935) --$tVIGILANTI CURA: ON MOTION PICTURES (Vatican City, 1936) --$tFOUR CARDINAL POINTS OF A REVOLUÇÃO DE MAIO (Portugal, 1937) --$tFROM ON THE ART OF CINEMA (North Korea, 1973) --$t8. ARCHIVES, MUSEUMS, FESTIVALS, AND CINEMATHEQUES --$tA NEW SOURCE OF HISTORY: THE CREATION OF A DEPOSITORY FOR HISTORICAL CINEMATOGRAPHY (Poland/France, 1898) --$tTHE FILM PRAYER (USA, c. 1920) --$tTHE FILM SOCIETY (UK, 1925) --$tFILMLIGA MANIFESTO (The Netherlands, 1927) --$tSTATEMENT OF PURPOSES (USA, 1948) --$tTHE IMPORTANCE OF FILM ARCHIVES (UK, 1948) --$tA PLEA FOR A CANADIAN FILM ARCHIVE (Canada, 1949) --$tOPEN LETTER TO FILM-MAKERS OF THE WORLD (USA, 1966) --$tA DECLARATION FROM THE COMMITTEE FOR THE DEFENSE OF LA CINÉMATHÈQUE FRANÇAISE (France, 1968) --$tFILMMAKERS VERSUS THE MUSEUM OF MODERN ART (USA, 1969) --$tANTHOLOGY FILM ARCHIVES MANIFESTO (USA, 1970) --$tTOWARD AN ETHNOGRAPHIC FILM ARCHIVE (USA, 1971) --$tBROOKLYN BABYLON CINEMA MANIFESTO (USA, 1998) --$tDON'T THROW FILM AWAY: THE FIAF 70th ANNIVERSARY MANIFESTO (France, 2008) --$tTHE LINDGREN MANIFESTO: THE FILM CURATOR OF THE FUTURE (Italy, 2010) --$tFILM FESTIVAL FORM: A MANIFESTO (UK, 2012) --$t9. SOUNDS AND SILENCE --$tA STATEMENT ON SOUND (USSR, 1928) --$tA REJECTION OF THE TALKIES (USA, 1931) --$tA DIALOGUE ON SOUND: A MANIFESTO (UK, 1934) --$tAMALFI MANIFESTO (Italy, 1967) --$t10. THE DIGITAL REVOLUTION --$tCULTURE: INTERCOM AND EXPANDED CINEMA: A PROPOSAL AND MANIFESTO (USA, 1966) --$tTHE DIGITAL REVOLUTION AND THE FUTURE CINEMA (Iran, 2000) --$tTHE PLUGINMANIFESTO (UK, 2001) --$tDIGITAL DEKALOGO: A MANIFESTO FOR A FILMLESS PHILIPPINES (The Philippines, 2003) --$t11. AESTHETICS AND THE FUTURES OF THE CINEMA --$tTHE BIRTH OF THE SIXTH ART (France, 1911) --$tTHE BIRTH OF A NEW AVANT GARDE: LA CAMÉRA-STYLO (France, 1948) --$tFROM PREFACE TO FILM (UK, 1954) --$tTHE SNAKESKIN (Sweden, 1965) --$tMANIFESTO (Italy, 1965) --$tMANIFESTO ON THE RELEASE OF LA CHINOISE (France, 1967) --$tDIRECT ACTION CINEMA MANIFESTO (USA, 1985) --$tREMODERNIST FILM MANIFESTO (USA, 2008) --$tTHE AGE OF AMATEUR CINEMA WILL RETURN (People's Republic of China, 2010) --$tAPPENDIX --$tNOTES --$tACKNOWLEDGMENTS OF PERMISSIONS --$tINDEX 330 $aFilm Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme '95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture. 606 $aMotion pictures$xPhilosophy 606 $aMotion pictures 606 $aCulture in motion pictures 610 $aamerican film. 610 $aaustralian film. 610 $aavant garde. 610 $acanadian film. 610 $acinema. 610 $acolonialism. 610 $acultural studies. 610 $aculture. 610 $aeuropean filmmakers. 610 $afilm and digital media. 610 $afilm archives. 610 $afilm culture. 610 $afilm manifestos. 610 $afilm studies. 610 $afilm. 610 $afilmmaking. 610 $afilms from the soviet union. 610 $afrench film. 610 $agender and women studies. 610 $aglobal cinema. 610 $aglobal film. 610 $aglobal history of cinema. 610 $ahollywood. 610 $ainternational cinema. 610 $aitalian film. 610 $ajapanese film. 610 $alatin america third cinema. 610 $amotion picture production code. 610 $anational cinema. 610 $apornography. 610 $aradical film. 610 $arussian film. 615 0$aMotion pictures$xPhilosophy. 615 0$aMotion pictures. 615 0$aCulture in motion pictures. 676 $a791.4301 700 $aMacKenzie$b Scott$f1967-$01649489 702 $aMacKenzie$b Scott$4edt$4http://id.loc.gov/vocabulary/relators/edt 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910821412003321 996 $aFilm manifestos and global cinema cultures$93998261 997 $aUNINA