Download Experimental Film and Video: An Anthology by Jackie Hatfield, Stephen Littman PDF

By Jackie Hatfield, Stephen Littman

The prior forty years of technological innovation have considerably altered the fabrics of construction and revolutionized the chances for test and exhibition. no longer because the invention of movie has there been the sort of serious interval of significant swap within the imaging applied sciences available to artists. Bringing jointly key artists in movie, video, and electronic media, the anthology of Experimental movie and Video revisits the divergent philosophical and important discourses of the Nineteen Seventies and repositions those debates relative to modern perform. 40 artists have contributed photographs, and 25 artists contemplate the various severe agendas, contexts, and groups that experience affected their perform around the interval from the past due Sixties up to now. besides an creation through Jackie Hatfield and forewords by means of Sean Cubitt and Al Rees, this illustrated anthology comprises interviews and up to date essays through filmmakers, video artists, and pioneers of interactive cinema. Experimental movie and Video opens up the conceptual avenues for destiny perform and similar serious writing.

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Does that then go along with the film or would it become contrary? Being right or not is a totally different thing. We knew that already, knew at that time that ‘right’ or ‘wrong’ wouldn’t be the limit of any definition. Yet it was our belief that all this was a collective process automatically. In a sense what this does theorize is how perception leads to thought, so that the two are never completely separate. For the first time in twenty years I looked at an issue of Artforum recently, published in September 1971, the ‘Structural Film Issue’.

Notes 1. 2. 3. 4. 5. 6. 7. 8. 9. Richard Wollheim, ‘Minimal Art’, ed. P. Dutton and Company, 1968), p. 388. P. Adams Sitney, Visionary Film: The American Avant-Garde 1943-1978 (New York: Oxford University Press, 1974). They are better left un-referenced and un-described, though if desired, one can refer to Fred Camper’s acerbic article ‘The End of Avant-Garde Film’, Millennium Film Journal Nos. 16/17/18, Fall/Winter 1986–87, pp. 99–126, in which he describes, with some relish, films he disapproves of.

The central section consists of one second scenes of words, mostly images of public signs in New York City, arranged in alphabetic order. The alphabet is navigated many times through, and one by one images replace the words. Over the forty-five minute course, all words are eventually eliminated and a regulated montage of 24 frame shots Post Future Past Perfect remains. The notion of an ordered set dominates the film, and endorses the authority of the filmmaker’s intelligence, his ability to master his materials.

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