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Experimental Filmmaking and the Motion Picture Camera is an introductory guide to experimental filmmaking, surveying the practical methods of experimental film production as well as the history, theory, and aesthetics of experimental approaches. Author Joel Schlemowitz explains the basic mechanism of the camera before going on to discuss slow and fast motion filming, single-frame time lapse, the long take, camera movement, workings of the lens, and the use of in-camera effects such as double exposure. A comprehensive guide to using the 16mm Bolex camera is provided. Strategies for making films edited in-camera are covered. A range of equipment beyond the basic non-sync camera is surveyed. The movie diary and film portrait are examined, along with the work of a range of experimental filmmakers including Stan Brakhage, Rudy Burckhardt, Paul Clipson, Christopher Harris, Peter Hutton, Takahiko Iimura, Marie Losier, Rose Lowder, Jonas Mekas, Marie Menken, Margaret Rorison, Guy Sherwin, and Tomonari Nishikawa. This is the ideal book for students interested in experimental and alternative modes of filmmaking. It provides invaluable insight into the history, methods, and concepts inherent to experimental uses of the camera, while providing students with a solid foundation of techniques and practices to foster their development as filmmakers. Supplemental material, including links to films cited in the book, can be found at www.experimentalfilmmaking.com.
Experimental Filmmaking emerges out of a deep and abiding love of celluloid and artisanal media practices and a personal exploration of the field of avant-garde and experimental film, animation and video produced since the beginnings of cinema. Although there have been many critical and historical books on the subject, with the exception of zines and hand-published volumes, there has never been a comprehensive instructional manual on experimental processes. This book will introduce film students and professional filmmakers alike to various methods of experimental animation, film and video production that involve material interventions into the normative process of the medium while offering brief introductions to artists and their works.
"This book provides essential documentation of all known Edison films made between 1890 and 1900. Thomas Edison and his associates at the Edison Laboratory in West Orange, New Jersey, invented the first system of commercial motion pictures." "Making the historical framework predominant while retaining traditional cataloging features, Edison Motion Pictures, 18901900 is of value to a wide range of scholars interested in American life at the turn of the century - those working in performance studies, film and media studies, cultural history, ethnic studies, and social and political history. Documentary filmmakers, film programmers, archivists, and librarians can also benefit from using this catalog." "Edison films from the end of the nineteenth century offer a unique visual record of American entertainment and popular culture - moving images that become much more interesting and useful when they can be examined in conjunction with pertinent documentation." "Scholars concerned with portrayals of war, depictions of the American presidency, and many other topics in the nation's political history will find much useful information."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This volume offers introductions to the work of fifteen avant-garde American women filmmakers.
Film is the art form of our times. It has formed the background of our lives, informed visual arts practices, and formed our culture's stories, its memory. Moments of Perceptionis a landmark book. The first history of twentieth and early-twenty-first-century Canadian experimental filmmaking, it maps avant-garde films from the 1950s to the present day, including their contradictions and complexities. Experimental film is political in its very existence, critical of the status quo by definition. In Canada, some of the country's best-known artists took up the moving image as a form of artistic expression, allowing them to explore explicitly political themes. Mike Hoolboom's exposure of the horror of AIDS, Josephine Massarella's concern for the environment, and Joyce Wieland's satiric look at US patriotism are just a few examples of work that contributed to social movementsand provided a means to explore issues of race and gender and LGBTQ2S+ and Indigenous identities. Featuring a major essay on the history of the movement by film scholar Mike Zryd and profiles of key filmmakers by film historian Stephen Broomer and editors Jim Shedden and Barbara Sternberg, Moments of Perceptionoffers a fresh perspective on the ever-evolving history of Canada's experimental film and moving-image media arts.
Avant-garde film is almost indefinable. It is in a constant state of change and redefinition. In his highly-acclaimed history of experimental film, A.L. Rees tracks the movement of the film avant-garde between the cinema and modern art (with its postmodern coda). But he also reconstitutes the film avant-garde as an independent form of art practice with its own internal logic and aesthetic discourse. In this revised and updated edition, Rees introduces experimental film and video to new readers interested in the wider cinema, as well as offering a guide to enthusiasts of avant-garde film and new media arts. Ranging from Cézanne and Dada, via Cocteau, Brakhage and Le Grice, to the new wave of British film and video artists from the 1990s to the present day, this expansive study situates avant-garde film between the cinema and the gallery, with many links to sonic as well as visual arts. The new edition includes a review of current scholarship in avant-garde film history and includes updated reading and viewing lists. It also features a new introduction and concluding chapter, which assess the rise of video projection in the gallery since the millennium, and describe new work by the latest generation of experimental film-makers. The new edition is richly illustrated with images of the art works discussed.
The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonized avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities.
Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol's Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature. Analyzing four categories of static film--furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image--Remes maps the interrelations between movement, stillness, and duration and their complication of cinema's conventional function and effects. Arguing all films unfold in time, he suggests duration is more fundamental to cinema than motion, initiating fresh inquiries into film's manipulation of temporality, from rigidly structured works to those with more ambiguous and open-ended frameworks. Remes's discussion integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and will appeal to students of film theory, experimental cinema, intermedia studies, and aesthetics.
This book assesses the contemporary status of photochemical film practice against a backdrop of technological transition and obsolescence. It argues for the continued relevance of material engagement for opening up alternative ways of seeing and sensing the world. Questioning narratives of replacement and notions of fetishism and nostalgia, the book sketches out the contours of a photochemical renaissance driven by collective passion, creative resistance and artistic reinvention. Celluloid processes continue to play a key role in the evolution of experimental film aesthetics and this book takes a personal journey into the work of several key contemporary film artists. It provides fresh insight into the communities and infrastructures that sustain this vibrant field and mobilises a wide range of theoretical perspectives drawn from media archaeology, new materialism, ecocriticism and social ecology.
An exploration of what experimental cinema was, is, and might become A Companion to Experimental Cinema is a collection of original essays organized around both theoretical and historical issues of concern to film scholars, programmers, filmmakers, and viewers. Newly-commissioned essays written by specialists in the field, along with dialogues conducted with a diverse range of practitioners, focus on core subjects to present an international array of overlapping and contrasting perspectives. This unique text not only provides detailed accounts of particular films and filmmakers, but also discusses new approaches of understanding, characterizing, and shaping experimental cinema. The Companion offers readers an accessible point of entry to the material while seeking to contribute to scholarly debates. Essays explore a wide range of topics within the realm of experimental film, including the shift from traditional biography to broader contexts, the increased attention afforded to local and transnational circuits of exchange, and the deepening of theoretical considerations regarding cultural identity and cinematic aesthetics. Key themes and concepts are inter-woven throughout the text, offering fresh perspectives on experimental cinema’s dialogues with other modes and practices of film and video, its interactions with the non-cinematic arts, its responses to changing technological landscapes, and more. An essential addition to the field, the Companion: Balances introductory summaries and scholarly dialogue with existing literature Explores how the study of experimental cinema can benefit from scholarship in other disciplines Includes numerous analyses of films that are readily available to view via digital media Discusses both canonical and obscure or neglected works Examines the effects of the growing diversification of experimental film scholarship A Companion to Experimental Cinema is a valuable resource for scholars of film studies and art history, curators and programmers, critics and bloggers, filmmakers and artists, and anyone interested in exploring experimental or avant-garde cinema.