LEADER 05386nam 22006614a 450 001 9910825163703321 005 20200520144314.0 010 $a1-283-16215-6 010 $a9786613162151 010 $a94-012-0003-3 010 $a1-4356-1341-4 035 $a(CKB)1000000000481353 035 $a(EBL)556866 035 $a(OCoLC)714568409 035 $a(SSID)ssj0000108082 035 $a(PQKBManifestationID)11127520 035 $a(PQKBTitleCode)TC0000108082 035 $a(PQKBWorkID)10017662 035 $a(PQKB)10756274 035 $a(MiAaPQ)EBC556866 035 $a(OCoLC)183317290$z(OCoLC)647915169$z(OCoLC)714568409$z(OCoLC)764536776 035 $a(nllekb)BRILL9789401200035 035 $a(Au-PeEL)EBL556866 035 $a(CaPaEBR)ebr10380667 035 $a(CaONFJC)MIL316215 035 $a(PPN)199793670 035 $a(EXLCZ)991000000000481353 100 $a20071109d2007 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 00$aAvant-garde film /$fedited by Alexander Graf and Dietrich Scheunemann 205 $a1st ed. 210 $aAmsterdam ;$aNew York $cRodopi$d2007 215 $a1 online resource (400 p.) 225 1 $aAvant garde critical studies ;$v23 300 $aDescription based upon print version of record. 311 $a90-420-2305-8 320 $aIncludes bibliographical references and index. 327 $tPreliminary material /$rEditors Avant-Garde Film --$tHans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film /$rR. Bruce Elder --$tFrames and Windows: Visual Space in Abstract Cinema /$rA.L. Rees --$tParis ? Berlin ? Moscow: On the Montage Aesthetic in the City Symphony Films of the 1920's /$rAlexander Graf --$tMan Ray?s Films: From Dada to Surrealism /$rRudolf E. Kuenzli --$tOn Mário Peixoto?s Limite /$rMichael Korfmann --$tDancing with Light: Choreographies of Gender in the Cinema of Germaine Dulac /$rTami M. Williams --$tMayakovsky: Film: Futurism /$rMarina Burke --$tThe Interiority of Space: Desire and Maya Deren /$rMaureen Turim --$tStan Brakhage?s Film Testament: The Four Faust Films /$rInez Hedges --$tLight-Play and the Aesthetics of Avant-Garde Film /$rWilliam C. Wees --$tPaul Sharits: from Cinematic Movement to Nondirectional Motion /$rYvonne Spielmann --$tChanges in experimental filmmaking between the 1920's and the 1960's: On Luis Buñuel /$rPierre Sorlin --$tIt?s a Kind of Magic: World Construction in French Surrealist and Belgian Magical Realist Fiction and Cinema /$rBart Keunen and Sascha Bru --$tPeter Kubelka?s Arnulf Rainer /$rNicky Hamlyn --$tDanish Avant-Garde Filmmakers of the 1960's: Technology, Cross-aesthetics and Politics /$rTania Ørum --$tFrench Experimental Cinema: the Figural and the Formless ? Nicolas Rey?s Terminus for you (1996) and Pip Chodorov?s Charlemagne 2: Piltzer (2002) /$rMartine Beugnet --$tThe Stammering Frame: on recent French and Austrian Film Experiments /$rFrédérique Devaux --$tInscriptions of Light and The ?Calligraphy of Decay?: Volatile Representation in Bill Morrison?s Decasia /$rUrsula Böser --$tFrom Video Art to Video Performance: The Work of Ulrike Rosenbach /$rGünter Berghaus --$tNew Media and Feminist Interventions: Valie Export?s Medial Anagrams /$rMargit Grieb --$tThe Paracinema of Anthony McCall and Tony Conrad /$rJonathan Walley --$tList of Illustrations /$rEditors Avant-Garde Film --$tContributors to this volume /$rEditors Avant-Garde Film --$tIndex /$rEditors Avant-Garde Film. 330 $aThis volume on avant-garde film has emerged as part of a wider reassessment of 20th century avant-garde art, literature and film carried out in the framework of a research project at the University of Edinburgh. It paves the way for a fresh assessment of avant-garde film and develops its theory as an integral part of a newly defined conception of the avant-garde as a whole, by closing the gap between theoretical approaches towards the avant-garde as defined on the basis of art and literature on the one hand and avant-garde cinema on the other. It gathers contributions by the most esteemed scholars in the field of avant-garde studies relating to the ?classical? avant-garde cinema of the 1920's, to new trends emerging in the 1950's and 1960's and to the impact that innovative technologies have recently had on the further development of avant-garde and experimental film. The contributions reflect the broad range of different moving-image media that make up what we refer to today simply as ?film?, at the same time as reconsidering the applicability of the label ?avant-garde?, to offer a comprehensive and updated framework that will prove invaluable to scholars of both Moving Image Studies and Art History disciplines. 410 0$aAvant-Garde Critical Studies$v23. 606 $aExperimental films$xHistory and criticism 606 $aAvant-garde (Aesthetics) 615 0$aExperimental films$xHistory and criticism. 615 0$aAvant-garde (Aesthetics) 676 $a791.43 701 $aGraf$b Alexander$01599513 701 $aScheunemann$b Dietrich$01599514 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910825163703321 996 $aAvant-garde film$93922237 997 $aUNINA