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The Videography of Darcy Lange is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers. This book follows Lange's trajectory from his early observational studies to the crisis of representation and socially engaged video and activism, as it is shaped by, and resists, the artistic, cultural and political preoccupations of the 1970s and 1980s. It strikes a balance between being a monographic account providing a close analysis of Lange's oeuvre and drawing from unpublished archival materials—a sort of catalogue raisonné—whilst maintaining a breadth with theoretical discourses around the themes of labour and class, education, and indigenous struggles central to his work. The book's frameworks of Conceptual Art, structuralist and ethnographic film theory, social documentary and the critique of representation, video as social practice and the notion of 'feedback', participatory socially engaged art and postcolonial and indigenous theory,—expand our understanding of video outside the predominant structuralist tendencies. Lange's transnational and nomadic career introduces notions of alterity and challenges nationalistic accounts that excluded him in the past. Mercedes Vicente is a curator, writer, and researcher. She is Associate Lecturer in Critical and Contextual Studies at the London Metropolitan University and was a lecturer at Royal College of Art, UK. She has held museum positions as interim Director of Education and Public Programmes at Whitechapel Gallery in London, Curator of Contemporary Art and Darcy Lange Curator-at Large at Govett-Brewster Art Gallery in New Zealand, and Research Curatorial Assistant at the Whitney Museum of American Art in New York.

Video art. --- Lange, Darcy, --- Experimental films. --- Arts. --- Photography. --- Experimental Film. --- Fine Art.

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Miroir de notre société, le film expérimental en reflète aussi les problématiques. Cette mise en lumière du réel s’accompagne d’un travail de composition sonore dont il s’agit d'examiner la place dans la construction du sens et dans l’expression de la violence. Quel rôle joue le son dans la composition audiovisuelle ? Quelles sont les fonctions de la composition musicale ? Quels sont les moyens du traitement sonore ? Comment la composition sonore articule-t-elle la temporalité du film ? Cette publication questionne la relation entre image et son, mêlant les origines, les disciplines et les approches de cinéastes et des œuvres de tous horizons : Aldo Tambellini, Bakary Diallo, Clio Simon, Christoph Girardet, Matthias Müller, Guli Silberstein, Randa Maroufi, Philippe Rouy et Nam June Paik. Mirror of our society, the experimental film also reflects the issues. This highlighting of the real is accompanied by a work of sound composition which is to examine the place in the construction of meaning and in the expression of violence. What role does sound play in audiovisual composition? What are the functions of music composition? What are the means of sound processing? How does the sound composition articulate the temporality of the film? This publication questions the relationship between image and sound, mixing origins, disciplines and approaches, with articles on filmmakers and works from all walks of life: Aldo Tambellini, Bakary Diallo, Clio Simon, Christoph Girardet, Matthias Müller, Guli Silberstein , Randa Maroufi, Philippe Rouy and Nam June Paik.

Art --- Music --- art et société --- film --- art et violence --- film expérimental --- interdisciplinarité --- musique --- relation image/son --- art and society --- art and violence --- experimental film --- interdisciplinary --- audiovisual processing --- music

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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.

Experimental films. --- Motion pictures—History. --- Arts. --- Experimental Film. --- Film History. --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Cinematography. --- Photography --- Chronophotography --- Animated pictures --- Film and TV History. --- Arts, Primitive --- History. --- History and criticism

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From the very beginning of cinema, there have been amateur filmmakers at work. It wasn't until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a widespread reality, and by the 1950s, over a million Americans had amateur movie cameras. In Amateur Cinema, Charles Tepperman explores the meaning of the "amateur" in film history and modern visual culture. In the middle decades of the twentieth century-the period that saw Hollywood's rise to dominance in the global film industry-a movement of amateur filmmakers created an alternative world of small-scale movie production and circulation. Organized amateur moviemaking was a significant phenomenon that gave rise to dozens of clubs and thousands of participants producing experimental, nonfiction, or short-subject narratives. Rooted in an examination of surviving films, this book traces the contexts of "advanced" amateur cinema and articulates the broad aesthetic and stylistic tendencies of amateur films.

Amateur films --- Production and direction --- History --- Amateur moving-pictures --- Home movies --- Personal films --- Motion pictures --- 20th century american film history. --- alternative. --- amateur filmmakers. --- amateur films movement. --- amateur moviemaking. --- american film. --- art. --- camera. --- cinema and film. --- cinema. --- creativity. --- experimental film. --- film and television. --- film studies. --- film. --- filmmaking. --- global film industry. --- historical. --- history of american cinema. --- history. --- kodak. --- modern visual culture. --- movie cameras. --- movie theory. --- non theatrical cinema. --- nonfiction film. --- performing arts. --- short subject film. --- small scale movie circulation. --- small scale movie production.

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Beat Studies represent a vibrant field of intellectual inquiry, and this collection examines Beat culture as deeply infused with ecological themes. Allen Ginsberg invented the term "Flower Power" and Beat texts uncover the sources of our current existential climate predicament. This is the first edited collection to place the Beat Generation in conversation with the environment. A diverse number of contributors from Asia, Europe, and North America addresses essential environmental subjects and the deep ecological vision of the Beats.

Research & information: general --- Environmental economics --- Allen Ginsberg --- Beat Generation --- poetry --- poetics --- memory --- Guy Debord --- psychogeography --- landscape --- ecocriticism --- pilgrimage --- Geoffrey Chaucer --- The Canterbury Tales --- Jack Kerouac --- On the Road --- ecopoetics --- slow travel --- vernacular --- William S. Burroughs --- Naked Lunch --- dark ecology --- consumption --- control --- Timothy Morton --- speciesism --- consumerism --- mass extinction --- climate change --- environmental humanities --- posthuman --- non-philosophy --- Beat women --- eco-criticism --- green reading --- Diane di Prima --- Anne Waldman --- Kerouac --- frontier --- ecotopia --- ecopoetry --- New York School --- New American Poetry --- reparative reading --- environment --- Black Mountain --- Queer --- Ghost of Chance --- Yage Letters --- Madagascar --- experimental film --- cyberpunk --- nature --- sound --- animals --- beat generation --- comparative literature --- white shamanism --- Beat poetry --- anthropocentric materialism --- Buddhist poetics --- biotic community --- Allen Ginsberg --- Beat Generation --- poetry --- poetics --- memory --- Guy Debord --- psychogeography --- landscape --- ecocriticism --- pilgrimage --- Geoffrey Chaucer --- The Canterbury Tales --- Jack Kerouac --- On the Road --- ecopoetics --- slow travel --- vernacular --- William S. Burroughs --- Naked Lunch --- dark ecology --- consumption --- control --- Timothy Morton --- speciesism --- consumerism --- mass extinction --- climate change --- environmental humanities --- posthuman --- non-philosophy --- Beat women --- eco-criticism --- green reading --- Diane di Prima --- Anne Waldman --- Kerouac --- frontier --- ecotopia --- ecopoetry --- New York School --- New American Poetry --- reparative reading --- environment --- Black Mountain --- Queer --- Ghost of Chance --- Yage Letters --- Madagascar --- experimental film --- cyberpunk --- nature --- sound --- animals --- beat generation --- comparative literature --- white shamanism --- Beat poetry --- anthropocentric materialism --- Buddhist poetics --- biotic community