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Standish Lawder was a film artist. In November 1965 at the Film-Makers' Cinematheque, he participated in an early “expanded cinema” event organized by Jonas Mekas and the "New American Cinema Group.” Over the following decade, Lawder made a series of provocative, visually ingenious films which are as compelling now as they were a half century ago. Standish Lawder was an art historian. If the activity of Mekas and the New York “underground” have now come to be seen as the beginning of the second major chapter in the history of experimental film, unquestionably the first chapter was the European avant-garde of the 1920s. Lawder was a pioneer in serious art historical research on the subject. This book is an attempt to appreciate Lawder as an artist and make his singular achievement as an art historian more available.
VOLUME 2: "Movies and Methods," Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context and suggest its linkages with other essays in the volume. A great variety of approaches and methods characterize film writing today, and the final part conveys their diversity--from statistical style analysis to phenomenology and from gay criticisms to neoformalism. This concluding part also shows how the rigorous use of a broad range of approaches has helped remove post-structuralist criticism from its position of dominance through most of the seventies and early eighties. -- Publisher description.
Standish D. Lawder, in The Cubist Cinema, correlates the history of film with its impact on modern art. Here is a definitive examination of the interrelationships between the Cubist movement in painting and its manifestations in film. The Cubist Cinema explores such questions as: What is the nature of early filmic expression and its significance to early twentieth-century art? How might the earliest films have been perceived by modern artists? How has film influenced modern art? Which films in themselves have made notable contributions to early twentieth-century art, particularly Cubism? The scope of the book covers such giants as Picasso, Survage, Kandinsky and Schonberg and their fascination with film, and then moves into the surrealist Bauhaus aesthetic and the hallucinatory content of Surrealistic painting of the late 1920s as a background for the abstract movement in film, beginning with Hans Richter, Viking Eggeling, and Walter Ruttman. Standish Lawder offers much original research as a basis for analysis of Richter, Eggeling and Leger, as well as other seminal figures of the avant-garde film movement of the 20s. Leger's famous Ballet Mecanique (1924) is studied in comprehensive detail - its sources, its position with Leger's painted oeuvre, and its nature as a work of art are analysed and documented. As film has come to be regarded as the art of our time, The Cubist Cinema is exclusively relevant as a source of the earliest alliance between film and modern art.
This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking, acting as a form of reclamation for films and filmmakers marginalized within established histories. An indispensable book for practitioners, historians and critics alike, it provides new interpretations of this rich and diverse history.
This book, the first full critical overview of the film avant-garde, ushers in a new approach—and in the process creates its own subject. While many books have studied particular aspects of the European film avant-garde of the 1920s and 1930s, Moving Forward, Looking Back provides a much-needed summary of the theory and practice of the movement, while also emphasizing aspects of the period that have been overlooked. Arguing that a European perspective is the only way to understand the transnational movement, the book also pioneers a new approach to the alternative cinema network that sustained the avant-garde, paying particular attention to the emergence of film culture as visible in screening clubs, film festivals, and archives. It will be essential to anyone interested in the influential movement and the film culture it created.
Describes the visual and mental models by which urban environment has been recognized, depicted and planned. This analysis draws from geography, critical theory, architecture, literature and painting to identify these maps of the city - as a work of art, as panorama and as spectacle.
With peerless talent and unrivalled international presence, few stars shone brighter in the heady firmament of the Jazz Age than Josephine Baker and Paul Robeson. Electric, charismatic, and unforgettable, both ignited the modern imaginations of cosmopolitan centers across Europe. Unabashedly themselves, they inspired poets, architects, novelists, and filmmakers across London, Paris, Berlin, and Vienna with their indomitable artistic energy. But Some of These Days extends beyond pure dual biography to recreate the rich community of artists who interacted with-and were influenced by-Baker and Robeson. James Donald highlights how the sense of excitement and artistic renewal ushered in with the 'New Negro Movement' reverberated far beyond Harlem. Throughout this chronicle, Donald underscores the relationship of African American aesthetics to the modernist movement that flourished from the 1920s until the end of World War II. Vivid portraits of artists like T. S. Eliot, HD, Carl Van Vechten, Marlene Dietrich, Jean Gabin, and Adolf Loos, among others, animate the study. Traversing countries and artforms, Some of These Days illustrates the immense cross-cultural collaboration of film, song, dance, and literature that coalesced to create modernist culture-where the new rhythms of the machine age were gleefully embraced, allowing art to consider the new possibilities of cosmopolitanism in a modern world. Engagingly written and lavishly illustrated, Some of These Days recovers not just the romance, excitement, and uncertainty of Baker and Robeson's storied rise to stardom but also the political and cultural legacy of the movement that they embodied.
Adopting an interdisciplinary approach, The Visual Music Film explores the concept and expression of musicality in the visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony.