Difference between revisions of "Experimental film"

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* David Curtis, Steve McQueen, ''[https://hostb.org/1CQZ Artists' Film]'', London: Thames & Hudson, 2021, 340 pp. [https://thamesandhudson.com/artists-film-9780500204733 Publisher].
 
* David Curtis, Steve McQueen, ''[https://hostb.org/1CQZ Artists' Film]'', London: Thames & Hudson, 2021, 340 pp. [https://thamesandhudson.com/artists-film-9780500204733 Publisher].
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* Laura A. Frahm, ''Design in Motion: Film Experiments at the Bauhaus'', MIT Press (Leonardo), 2022, 428 pp. [https://mitpress.mit.edu/9780262045186/design-in-motion/ Publisher].
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* Federico Windhausen (ed.), ''[https://b-ok.xyz/book/22666756/e91634 A Companion to Experimental Cinema]'', Wiley-Blackwell, 2022, 480 pp, [https://b-ok.xyz/book/22666755/6f5c53 EPUB]. [https://www.wiley.com/en-us/A+Companion+to+Experimental+Cinema-p-9781119107903 Publisher].
  
 
* Erika Balsom, Hila Peleg (eds.), ''Feminist Worldmaking and the Moving Image'', MIT Press, 2022, 320 pp. [https://mitpress.mit.edu/books/feminist-worldmaking-and-moving-image Publisher]. [https://www.hkw.de/en/programm/projekte/2022/no_master_territories/start.php Exhibition].
 
* Erika Balsom, Hila Peleg (eds.), ''Feminist Worldmaking and the Moving Image'', MIT Press, 2022, 320 pp. [https://mitpress.mit.edu/books/feminist-worldmaking-and-moving-image Publisher]. [https://www.hkw.de/en/programm/projekte/2022/no_master_territories/start.php Exhibition].
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* Laura A. Frahm, ''Design in Motion: Film Experiments at the Bauhaus'', MIT Press (Leonardo), 2022, 428 pp. [https://mitpress.mit.edu/9780262045186/design-in-motion/ Publisher].
 
  
 
===Journal issues===
 
===Journal issues===

Revision as of 19:38, 14 September 2022

Pages

Resources

Bibliography

Publications on individual filmmakers are included on their respective pages.

How to contribute. The following bibliography is made to be an online reader on experimental film as well. A number of included publications is already available online thanks to the publishers, fans, researchers or authors themselves, however we are still missing many of the early writings, the out of print and hard to find catalogues, journals and monographs. You are greatly welcome to contribute to the reader by uploading any missing scans to the wiki or contacting the editor (db at monoskop dot org). Suggestions for omitted works are also appreciated.
Maya Deren, An Anagram of Ideas on Art, Form and Film, 1946, Log, PDF.
Stan Brakhage, Metaphors on Vision, 1963, Log, PDF.
Sheldon Renan, An Introduction to the American Underground Film, 1967, IA.
Gene Youngblood, Expanded Cinema, 1970, Log.
Annette Michelson (ed.), Artforum: Special Issue on Film (September 1971), PDF.
P. Adams Sitney, Visionary Film: the American Avant-Garde, 1974ff, Log.
Amos Vogel, Film as a Subversive Art, 1974. PDF.
Peter Gidal (ed.), Structural Film Anthology, 1976, Log, PDF.
Film as Film: Formal Experiment in Film, 1910-1975, 1979, Log, PDF.
Hollis Frampton, Circles of Confusion: Film/Photography/Video Texts 1968-1981, 1983, Log, PDF.
R. Bruce Elder, Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century, 2008, Log.
P. Adams Sitney, Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson, 2008, Log.

Journals and Magazines

Exhibition catalogues and brochures

  • A History of the American Avant-garde Cinema: A Film Exhibition, New York: American Federation of Arts, 1976, 176 pp. (English)
  • Birgit Hein, Wulf Herzogenrath (eds.), Film als Film: 1910 bis heute: vom Animationsfilm der zwanziger zum Filmenvironment der siebziger Jahre, Cologne: Kölnischer Kunstverein, 1977, 268 pp. Exh. catalogue. (German)
  • Dominique Noguez, Trente ans de cinéma expérimental en France, 1950-1980, Paris: A.R.C.E.F., 1982, 117 pp. [2] (French)
  • Eugeni Bonet, Manuel Palacio (eds.), Practica Filmica y Vanguardia Artistica en Espana / The Avant-garde Film in Spain: 1925-1981, Madrid: Universidad Complutense de Madrid, 1983. (Spanish)
  • Judit Lorányi, Miklós Peternák (eds.), Film/művészet: a magyar kisérleti film története, Budapest: Budapest Galéria, 1983, 56 pp. (Hungarian)
  • Prosper Hillairet, Christian Lebrat, Patrice Rollet, Paris vu par le cinéma d'avant-garde (1923-1983), Paris: Paris expérimental, 1985. [3] (French)
  • Paul de Mol, Nelly Voorhuis (eds.), Het Experiment in de Nederlandse Film, Amsterdam: Stedelijk Museum Amsterdam, 1985. (Dutch)
  • David Schwartz (ed.), Independent America: New Film 1978-1988, New York: American Museum of the Moving Image, 1988, 93 pp. (English)
  • Eugeni Bonet (ed.), Desmontaje: film, vídeo/apropiación, reciclaje, IVAM, 1993. Introduction and Bonet's essay, Screening programme, [4]. (Spanish)
  • Gerald O’Grady, Bruce Posner (eds.), Articulated Light: The Emergence of Abstract Film in America, Cambridge, MA: Harvard Film Archive, and New York: Anthology Film Archives, 1995, 16 pp. (English)
  • Yann Beauvais, Jean-Michel Bouhours (eds.), Monter/Sampler: L'échantillonnage généralisé, Paris: Centre Pompidou, 2000, 160 pp. (French)
  • Nicole Brenez, Christian Lebrat (eds.), Jeune, dure et pure! Une histoire du cinéma d'avant-garde et expérimental en France, Paris: Cinémathèque française, and Milan: Mazzotta, 2001, 591 pp. English trans. of Introduction. [5] (French)
  • Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative and British Avant-Garde Film 1966-1976, London: Lux, 2002. (English)
  • Gerda J. Cammaer, Changing Times, Time Changes: Canadian Experimental Films and Videos of the 1990s, forew. Ingrid Jenkner, Halifax, N.S.: Mount Saint Vincent University Art Gallery, 2002, 35 pp. [6] (English)
  • Gerda Cammaer (ed.), Placing Spaces, Spacing Places: Canadian Experimental Films & Videos of the 1990s, Halifax, N.S.: Mount Saint Vincent University Art Gallery, 2003. (English)
  • Jean-Michel Bouhours, Bruce Posner, Isabelle Ribadeau Dumas (eds.), En Marge de Hollywood, la première avant-garde cinématographique américaine, 1893-1941, Paris: Centre Georges-Pompidou, 2003. (French)
  • Carolina López (ed.), Xcèntric: 45 películas contra dirección, Barcelona: CCCB, 2006, 176 pp. [7] (Spanish)
  • Esther Schlicht, Max Hollein (eds.), Zelluloid: Camera Less Film / Celluloid: Film ohne Kamera, Frankfurt: Schirn Kunsthalle, 2010. (English)/(German)
  • Anna Abrahams, Claartje Opdam, Mariska Graveland, film3 [‘kju:bIk fIlm], Amsterdam: EYE Film Institute Netherlands & Amsterdam University Press, 2010, 390 pp. [8] (English)/(Dutch)
  • Ana Janevski (ed.), As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s, Warsaw: Museum of Modern Art, 2010. (English)
  • Bojana Piškur, et al. (eds.), This Is All Film: Experimental Film in Yugoslavia 1951-1991 / Vse to je film: Eksperimentalni film v Jugoslaviji 1951-1991, Ljubljana: Museum of Modern Art, 2010, 154 pp. (English)/(Slovenian)
  • Alina Ignatova (ed.), Expanded Cinema / Расширенное кино, Moscow: MediaArtLab, 2011. (English)/(Russian)
  • Alina Streltsova (ed.), Expanded Cinema 2. Imersions: Towards the Tactile Cinema / Расширенное кино — 2, Moscow: MediaArtLab, 2012, 148 pp. (English)/(Russian)
  • Bruno Di Marino, Marco Meneguzzo, Andrea La Porta (eds.), Lo sguardo espanso. Cinema d'artista italiano 1912-2012, Silvana Editoriale, 2012. (Italian)
  • Susanne Pfeffer (ed.), You Killed Me First: The Cinema of Transgression, Berlin: KW Institute of Contemporary Art, and Cologne: Walther Konig, 2012. (English)/(German)
  • François Bovier, Balthazar Lovay, Sylvain Menétrey, Dan Solbach (eds.), Film Implosion! Experimental Cinema in Switzerland, Berlin: Revolver, 2017, 150 pp. [9] [10] [11] (German)/(French)

Anthologies

  • Peter Gidal (ed.), Structural Film Anthology, London: British Film Institute, 1976.
  • P. Adams Sitney (ed.), The Avant-garde Film: A Reader of Theory and Criticism, New York: New York University Press, 1978. Contains the often-hard-to-find theoretical writings of experimental filmmakers, beginning in France in the 1920s and continuing internationally through the 1970s.
  • Raffaele Milani (ed.), Il cinema underground americano, Messina Firenze: D'Anna, 1978, 190 pp. (Italian)
  • Paul Hammond (ed.), The Shadow and Its Shadow: Surrealist Writings on the Cinema, trans. & intro. Paul Hammond, London: British Film Institute, 1978; 2nd ed., Edinburgh: Polygon, 1991; 3rd ed., rev. & exp., San Francisco: City Lights, 2000, 225 pp. (English)
  • Norio Nishijima (ed.), Firumu wākushoppu [フィルム ワークショップ], Tokyo: Dagereo Shuppan, 1983, 222 pp. (Japanese)
  • Jaroslav Andjel, Ljubica Stanivuk (eds.), Teorija česke avangarde 1908-1937, Belgrade: Institut za film , 1987, 86 pp. (Serbo-Croatian)
  • Miklós Peternák (ed.), F.I.L.M. A magyar avant-garde film története és dokumentumai, Budapest: Képzőművészeti Kiadó, 1991, 351 pp. (Hungarian)
  • Wheeler Winston-Dixon, Gwendolyn Audrey Foster (eds.), Experimental Cinema: The Film Reader, London and New York: Routledge, 2002, 356 pp. Covers the field of experimental and avant-garde cinema from the 1920s onward, concentrating on movements and varied key figures, with a concentration on issues such as gender, sexuality, and race, as well as the impact of technological innovation. Review: Rees (Screen).
  • Ulrich Wegenast (ed.), Kunst und Film. Texte zum künstlerischen Film, Dresden: PHILO Fine Arts, 2002, 288 pp. (German)
  • Jackie Hatfield (ed.), Experimental Film and Video: An Anthology, Eastleigh: John Libbey Pub., 2006.

Monographs, Edited books

  • Maya Deren, An Anagram of Ideas on Art, Form and Film, Yonkers, NY: Alicat Book Shop Press, 1946, 52 pp; repr. in Deren, The Art of Cinema: Selected Essays, forew. George Amberg, New York: Arno Press, 1972, 104 pp; repr. in Deren, The Legend of Maya Deren: A Documentary Biography and Collected Works, v. 1, part 2: Chambers (1942-47), New York: Anthology Film Archives/Film Culture, 1988. The 1972 reprint also contains her essay "Cinematography: the Creative Use of Reality".
    • trans., in Deren, Écrits sur l'art et le cinéma, trans. Éric Alloi and Julie Beaulieu, Paris: Paris expérimental, 2004, 120 pp. Also contains a translation of "The Creative Use of Cinematography as the Reality" (1960). [12] [13] (French)
    • trans., in Deren, Choregraphie für eine Kamera. Schriften zum Film, eds. Jutta Hercher, Ute Holl, Kathrin Reichel, Kira Stein and Petra Wolff, trans. Susanne Amatosero, Ute Holl and Christine Noll-Brinckmann, Hamburg: Material-Verlag, 1995. (German)
    • trans., in Deren, El universo dereniano: textos fundamentales de la cineasta Maya Deren, intro., ed. & trans. Carolina Martínez López, Cuenca: Servicio de Publicaciones de la Universidad de Castilla-La Mancha, 2015. (Spanish)
    • trans., in Deren, Ma ya.de lun lun dian ying [玛雅.德伦论电影], Chang chun: Ji lin chu ban ji tuan, 2015. (Chinese)
  • Frank Stauffacher (ed.), Art in Cinema: A Symposium on the Avantgarde Film, Together with Program Notes and References for Series One of Art in Cinema, San Francisco: Art in Cinema Society: San Francisco Museum of Art, 1947, 104 pp; repr., New York: Arno Press, 1968, 104 pp. [14]
  • Peter Weiss, Avantgardefilm, Stockholm: Wahlström & Widstrand, 1956, 147 pp. [15] (Swedish)
    • Avantgarde Film, trans. Beat Mazenauer, Frankfurt am Main: Suhrkamp, 1995, 207 pp. (German)
  • Cinema Now: Stan Brakhage, John Cage, Jonas Mekas, Stan Vanderbeek, eds. Hector Currie and Michael Porte, University of Cincinnati Press, 1968, 28 pp. Transcript of a discussion among filmmakers and members of the Film as Art and Communication class at the University of Cincinnati, which took place in April 1967.
  • Parker Tyler, Underground Film: A Critical History, New York: Grove Press, 1969, 249+[32] pp; London: Secker & Warburg, 1969, 249+[32] pp; Harmondsworth: Penguin, 1974, 240+[16] pp; repr., intro. J. Hoberman, afterw. Charles Boultenhouse, New York: Da Capo Press, 1995, 265+[16] pp.
  • Gene Youngblood, Expanded Cinema, intro. R. Buckminster Fuller, New York: Dutton, 1970, 432+[6] pp; 50th anniv.ed., Fordham University Press, 2020.
    • Cine expandido, Buenos Aires: Eduntref, 2012, 456 pp. [16] (Spanish)
    • Expanded cinema, trans. Pier Luigi Capucci and Simonetta Fadda, Bologna: CLUEB, 2013, xvi+388 pp. (Italian)
  • Birgit Hein, Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino, Frankfurt/Berlin/Vienna: Ullstein, 1971. (German)
  • David Curtis, Experimental Cinema: A Fifty Year Evolution, London, Studio Vista, 1971. [17]
  • Jonas Mekas, Movie Journal: The Rise of New American Cinema, 1959-1971, New York: Macmillan, 1972, 434 pp; 2nd ed., forew. Peter Bogdanovich, intro. Gregory Smulewicz-Zucker, Columbia University Press, 2016, 496 pp. A collection of the columns written for the Village Voice beginning in 1958 under the title "Movie Journal". Review: Everleth (UFJ 2007).
    • Ciné-Journal: Un nouveau cinéma américain (1959-1971), trans. Dominique Noguez, Paris: Paris expérimental, 1992, 400 pp. [18] (French)
  • Gottfried Schlemmer (ed.), Avantgardistischer Film 1951-1971, Theorie, Munich: Hanser, 1973. (German)
  • P. Adams Sitney, Visionary Film: the American Avant-Garde, Oxford University Press, 1974, xii+452 pp; 2nd ed., exp., as Visionary Film: the American Avant-Garde, 1943-1978, Oxford University Press, 1979, xiv+463 pp; 3rd ed., exp., as Visionary Film: the American Avant-Garde, 1943-2000, Oxford University Press, 2002, xvi+462 pp.
    • Le cinéma visionnaire: l'Avant-garde américaine 1943-2000, trans. Pip Chodorov and Christian Lebrat, Paris: Paris expérimental, 2002, 448 pp. [21] (French)
    • Sigak yonghwa: 20-segi Miguk abanggarudo yonghwa, trans. Tong-hyon Pak, Seoul: Pyongsari, 2005, 560 pp. (Korean)
  • Hans Scheugl, Ernst Schmidt jr., Eine Subgeschichte des Films. Lexikon des Avantgarde-, Experimental- und Undergroundfilms, Band 1 und 2, Frankurt am Main: Suhrkamp, 1974. (German)
  • Jean Mitry, Le Cinema Experimental: Histoire et Perspectives, Paris: Seghers, 1974. (French)
    • Storia del cinema sperimentale, Clueb, 2006, 214 pp. (Italian)
  • Standish Lawder, The Cubist Cinema, New York University Press, 1975, 265 pp, OL. Reviews: Reveaux (Film Q), Chin (PAJ).
  • Stephen Dwoskin, Film is ...: The International Free Cinema, London: Owen, 1975.
  • P. Adams Sitney (ed.), The Essential Cinema: Essays on the Films in the Collection of Anthology Film Archives, New York: Anthology Film Archives, 1975. Essays by filmmakers and scholars of the avant-garde, written with a wide range of approaches ranging from the theoretical to the purely personal, intended to reinforce appreciation of the films chosen by the archive for inclusion in its Essential Cinema Collection.
  • Viktoria Hradská, Česká avantgarda a film, Prague: Čs. filmový ústav, 1976. (Czech)
  • Malcolm Le Grice, Abstract Film and Beyond, MIT Press, 1977.
  • Dominique Noguez, Éloge du cinéma expérimental: Definitions, Jalons, Perspectives, Paris: Paris expérimental and Centre Georges Pompidou, 1979; 3rd ed., 2010. (French) [22]
  • Ulrich Gregor (ed.), The German Experimental Film of the Seventies, Munich: Goethe-Institut, 1980.
  • Inez Hedges, Languages of Revolt: Dada and Surrealist Literature and Film, Durham, N.C.: Duke University Press, 1983.
  • Andere Avant Garde, Linz: Gutenberg, 1984. (German)
  • Jairo Ferreira, Cinema de Invenção, Sao Paulo: Editora Max Limonad, 1986. [23] (Brazilian Portuguese)
  • Helge Krarup, Carl Norrested, Eksperimentalfilm i Danmark, Copenhagen: Borgen, 1986. (Danish)
  • Fernao Ramos, Cinema Marginal, 1968-1973: A Representacao em seu Limite, Sao Paulo: Editora Brasiliense, 1987. (Portuguese)
  • Stan Brakhage, Film at Wit's End: Eight Avant-garde Filmmakers, Kingston, N.Y.: Documentext, 1989.
  • Ingo Petzke (ed.), Das Experimentalfilm-Handbuch, Frankfurt am Main: Deutsches Filminstitut, 1989, 385 pp. (German) [24]
  • Marcin Giżycki, Walka o film artystyczny w mie̜dzywojennej Polsce, Warsaw: Państwowe Wydawnictwo Naukowe, 1989, 262+[32] pp. (Polish)
  • Eduard Ditschek, Politisches Engagement und Medienexperiment: Theater und Film der Russischen und Deutschen Avantgarde der Zwanziger Jahre, Tübingen: Narr, 1989, 306 pp. TOC. (German)
  • P. Adams Sitney, Modernist Montage: The Obscurity of Vision in Cinema and Literature, New York: Columbia University Press, 1990, x+250+[16] pp.
  • Patricia Mellencamp, Indiscretions: Avant-garde Film, Video & Feminism, Bloomington: Indiana University Press, 1990, xix+234 pp.
  • Lauren Rabinovitz, Points of Resistance: Women, Power & Politics in the New York Avant-garde Cinema, 1943-71, Urbana: University of Illinois Press, 1991, xi+250 pp; 2nd ed., 2003, xviii+252 pp. [26]
  • Stanislav Ulver, Západní filmová avantgarda, Prague: ČFÚ, 1991. (Czech)
  • Frederique Devaux, Le cinéma Lettriste: 1951-1991, Paris: Paris expérimental, 1992. (French) [27]
  • David E. James (ed.), To Free the Cinema: Jonas Mekas and the New York Underground, University of Princeton Press, 1992, 352 pp. [28]
  • Scott MacDonald, Avant-garde Film: Motion Studies, Cambridge University Press, 1993.
  • Germaine Dulac, Écrits sur le cinéma, 1919-1937, ed. Prosper Hillairet, Paris: Paris expérimental, 1994, 225 pp. Anthology of Dulac's writings with contextual essay. (French) [29]
  • James Peterson, Dreams of Chaos, Visions of Order: Understanding the American Avante-garde Cinema, Detroit: Wayne State University Press, 1994.
  • Holger Wilmesmeier, Deutsche Avantgarde und Film: Die Filmmatinee "Der absolute film" (3. und 10. Mai 1925), 1994, 220 pp. (German)
  • Jan-Christopher Horak (ed.), Lovers of Cinema: The First American Film Avant-garde, 1919-1945, Madison, Wis.: University of Wisconsin Press, 1995. [30]
  • Rudolf E. Kuenzli (ed.), Dada and Surrealist Film, MIT Press, 1996.
  • Marcin Giżycki, Awangarda wobec kina: film w kręgu polskiej awangardy artystycznej dwudziestolecia międzywojennego, Warsaw: Wydawnictwo Małe, 1996, 142 pp. [31] [32] (Polish)
  • Karin Fritsche, Claus Löser (eds.), Gegenbilder - Filmische Subversion in der DDR 1976-1989, Berlin: Janus Press, 1996. [33], Review. (German)
  • Christian Lebrat, Entre les images, Paris: Paris expérimental, 1997, 100 pp. (French) [34]
  • Il cinema d'avanguardia: 1910-1930, Venezia: Marsilio, 1997. (Italian)
  • Wheeler W. Dixon, The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema, Albany: State University of New York Press, 1998.
  • Robert A. Haller (ed.), First Light, New York: Anthology Film Archives, 1998, 108 pp.
  • Beatriz Sarlo Sabajanes, La maquina cultural: maestras, traductores y vanguardistas, Buenos Aires: Ariel, 1998. (Spanish)
  • Scott MacDonald, A Critical Cinema: Interviews with Independent Filmmakers, 5 vols, Berkeley: University of California Press, 1988–2005. Five volumes of in-depth, perceptive, enlightening interviews with a multitude of filmmakers offer a veritable history of the field. The author’s overriding concern is with experimental cinema as a form of critique of conventional media.
  • A. L. Rees, A History of Experimental Film and Video: From Canonical Avant-garde to Contemporary British Practice, London: British Film Institute, 1999, viii+152+[32] pp; 2nd ed., Palgrave Macmillan, 2011, 208 pp.
    • Jikken eizō no rekishi eiga to bideo: kihanteki abangyarudo kara gendai eikoku deno eizō jissen [実験映像の歴史:映画とビデオ : 規範的アヴァンギャルドから現代英国での映像実践], Kyoto: Kōyōshobō, 2010. (Japanese)
    • Shi yan dian ying shi yu lu xiang shi [实验电影史与录像史], Changchun: Ji lin chu ban ji tuan you xian ze ren gong si, 2011, 210 pp. (Chinese)
    • 험영화와 비디오의 역사 : 정통 아방가르드부터 현대 영국 예술의 실천까지, 2014. (Korean)
  • Emanuel Levy, Cinema of outsiders: the rise of American independent film, New York: New York University Press, 1999.
  • Bruno Di Marino, Sguardo inconscio azione: cinema sperimentale e underground a Roma: 1965-1975, Rome: Lithos, 1999. (Italian)
  • Joan M Minguet Batllori, Cinema, modernitat i avantguarda (1920-1936), Valencia: E. Climent, 2000. (Spanish)
  • Scott MacDonald, The Garden in the Machine: A Field Guide to Independent Films about Place, University of California Press, 2001, 487 pp. [36]
  • Barbara Wilinsky, Sure Seaters: the emergence of art house cinema, Minneapolis: University of Minnesota Press, 2001.
  • Bruce Posner (ed.), Unseen Cinema: Early American Avant-Garde Film 1893-1941, New York: Black Thistle Press, and New York: Anthology Film Archives, 2001.
  • Malcolm Le Grice, Experimental Cinema in the Digital Age, London: BFI Publishing, 2001, 484 pp.
  • Hans Scheugl, Erweitertes Kino. Die Wiener Filme der 60er Jahre, Vienna: Triton, 2002. (German)
  • Nina Danino, Michael Maziere (eds.), The Undercut reader: critical writings on artists' film and video, London/New York: Wallflower, 2003.
  • Maurice Lemaitre, 1967-1969, le cafe-cinema Lemaitre : suivi de Huit filmes lettristes, Paris: Paris expérimental, 2003. (French)
  • Nicky Hamlyn, Film Art Phenomena, London: British Film Institute, 2003, viii+200 pp. Ch 4. Reviews: Rees (Screen), Conomos (Screening the Past).
  • Michael O'Pray, Avant-Garde Film: Forms, Themes and Passions, London/New York: Wallflower, 2003.
  • Anna Abrahams, Mariska Graveland, Erwin van 't Hart, Peter van Hoof, MM2. Experimental film in the Netherlands since 1960, Amsterdam: Filmbank & De Balie, 2004, 286 pp. [37]
  • Jeffrey Skoller, Shadows, Specters, Shards. Making History in Avant-Garde Film, University of Minnesota Press, 2005, 233 pp.
  • David E. James, The Most Typical Avant-garde: History and Geography of Minor Cinemas in Los Angeles, University of California Press, 2005, 548 pp. Review.
  • Clayton Patterson (ed.), Captured: A Film & Video History of the Lower East Side, New York: Seven Stories Press, 2005, 554 pp. [38]
  • Paul Arthur, A Line of Sight: American Avant-Garde Film Since 1965, University of Minnesota Press, 2005. [39]
  • Jean Petrolle, Virginia Wright Wexman (eds.), Women and Experimental Filmmaking, Urbana: University of Illinois, 2005. Review: Hutchison (Signs). [40]
  • François Albera, L’Avant-garde au cinéma, Paris: Armand Colin, 2005. (French)
  • Scott MacDonald, Art in Cinema: Documents Toward a History of the Film Society, Temple University Press, 2006, 307 pp.
  • Paul G. Pickowicz, Yingjin Zhang (eds.), From Underground to Independent: Alternative Film Culture in Contemporary China, Lanham, Md.: Rowman & Littlefield, 2006.
  • Nicole Brenez, Cinémas d'avant-garde, Paris: Cahiers du cinéma, 2006, 95 pp. (French)
  • Nicole Brenez, Traitement du lumpenproletariat par le cinéma d'avant-garde, Biarritz: Séguier, and Paris: Archimbaud, 2006, 97 pp. (French)
  • Olga Moskatova, Male am Zelluloid. Zum relationalen Materialismus im kameralosen Film, Bielefeld: transcript, 2019, 390 pp. Based on dissertation from the Berlin Universität der Künste, 2016. [70] (German)
  • Scott MacKenzie, Janine Marchessault (eds.), Process Cinema: Handmade Film in the Digital Age, McGill-Queen's University Press, 2019. [71]
  • Erika Balsom, Lucy Reynolds, Sarah Perks (eds.), Artists’ Moving Image in Britain Since 1989, Yale University Press, 2019, 544 pp. Publisher. [72]
  • Kim Knowles, Experimental Film and Photochemical Practices, Palgrave Macmillan, 2020, xv+255 pp.
  • Gregory Zinman, Making Images Move: Handmade Cinema and the Other Arts, University of California Press, 2020, 392 pp. [73]
  • Laura A. Frahm, Design in Motion: Film Experiments at the Bauhaus, MIT Press (Leonardo), 2022, 428 pp. Publisher.
  • Erika Balsom, Hila Peleg (eds.), Feminist Worldmaking and the Moving Image, MIT Press, 2022, 320 pp. Publisher. Exhibition.

Journal issues

Selected essays

Encyclopedic entries

Mailing lists

Theses

Documentary films

  • Die kritische Masse – Film im Underground, Hamburg '68, dir. Christian Bau, 1998, 110 min. [77]
  • Free Radicals: A History of Experimental Film, dir. Pip Chodorov, 2012, 82 min. [78]

Bibliographies

See also


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