Download Free Experimental Cinemas In State Socialist Eastern Europe Book in PDF and EPUB Free Download. You can read online Experimental Cinemas In State Socialist Eastern Europe and write the review.

Was there experimental cinema behind the Iron Curtain? What forms did experiments with film take in state socialist Eastern Europe? Who conducted them, where, how, and why? These are the questions answered in this volume, the first of its kind in any language. Bringing together scholars from different disciplines, the book offers case studies from Bulgaria, Czech Republic, former East Germany, Hungary, Poland, Romania, and former Yugoslavia. Together, these contributions demonstrate the variety of makers, production contexts, and aesthetic approaches that shaped a surprisingly robust and diverse experimental film output in the region. The book maps out the terrain of our present-day knowledge of cinematic experimentalism in Eastern Europe, suggests directions for further research, and will be of interest to scholars of film and media, art historians, cultural historians of Eastern Europe, and anyone concerned with questions of how alternative cultures emerge and function under repressive political conditions.
Theatre in Eastern and Central Europe was never the same after the fall of the Berlin Wall in 1989. In the transition to a postcommunist world, “alternative theatre” found ways to grapple with political chaos, corruption, and aggressive implementation of a market economy. Three decades later, this volume is the first comprehensive examination of alternative theatre in ten former communist countries. The essays focus on companies and artists that radically changed the language and organization of theatre in the countries formerly known as the Eastern European bloc. This collection investigates the ways in which postcommunist alternative theatre negotiated and embodied change not only locally but globally as well. Contributors: Dennis Barnett, Dennis C. Beck, Violeta Decheva, Luule Epner, John Freedman, Barry Freeman, Margarita Kompelmakher, Jaak Rahesoo, Angelina Ros ̧ca, Ban ̧uta Rubess, Christopher Silsby, Andrea Tompa, S. E. Wilmer
Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.
Documents the rich allusiveness and intellectual probity of experimental filmmaking-a form that thrived despite having been officially banned-in East German socialism's final years.
We ve all had the experience of watching a film and feeling like we ve been in a trance. This book takes that experience seriously, explaining cinema as a cultural technique of trance, one that unconsciously transforms our perceptions. Ute Holl moves from anthropological and experimental cinema through nineteenth-century psychological laboratories, which she shows developed technique of testing, measuring, and classifying the mind that can be seen as a prehistory of cinema, one that allows us to see the links among cinema, anthropology, psychology, and cybernetics."
Jolted Images brings together a large cast of mainstream and avant-garde cineastes, artists, photographers, comics creators, poets, and more, to reflect on a wide range of phenomena from the realms of cinema and visual culture in the Yugoslav region, broader Europe, and North America. Far from a staid monograph, the book takes a cue from filmmaker Du¿an Makavejev, who once wrote that there are times when it is necessary "to jolt art, no matter what the outcome"; to that end, the book infuses its analysis with playful, creative transfiguration of the material at hand.
Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.
Fans of cult films don't just watch the movies they love-they frequently engage with them in other, more creative ways as well. Making European Cult Cinema explores the ways in which that fandom could be understood as an alternative economy of fan enterprise, through a close look at how fans produce and distribute artifacts and commodities related to cult films. Built around interviews and ethnographic observations-and even the author's own fan enterprise-the book creates an innovative theoretical framework that draws in ideas from cultural studies and political economy to introduce the concept of an 'alternative economy' as a way to understand fan productions.