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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It strikes a balance between being a monographic account providing a close analysis of Lange's oeuvre and drawing from unpublished archival materials—a sort of catalogue raisonné—whilst maintaining a breadth with theoretical discourses around the themes of labour and class, education, and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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Iurii Olesha (1899-1960) was a relative late-comer to film work, if compared to several other important fictional prose writers oft he Soviet ,experimental' (modernist) 1920s. Olesha's first major filmscript (and his first script to be filmed) was "Strogii iunosha (A Strict Youth"), written in Odessa in 29 days in May und June 1934.

1936 --- Abram --- Assets --- Collaboration --- Dmitrii Dorliak --- experimental film --- Heil --- Iunosha --- Iurii --- List --- Olesha --- Political --- political film --- Room --- soviet film --- Strict --- Strogii --- Strogii iunosha --- Youth

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This is a collection of writings by the giant of experimental cinema, Stan Brakhage, that shows him in a completely new light, as part of world cinema. For the duration of the 1980s, Brakhage contributed to the Boulder literary magazine Rolling Stock, mostly publishing reports from the Telluride Film Festival. These reports show that Brakhage was keenly interested in world cinema, anxious to meet and dialogue with filmmakers of many different stripes. The book also contains substantial discussion of Brakhage's work in light of the filmmakers he encountered at Telluride and discussed in Rolling Stock. Long chapters are given over to Soviet filmmakers such as Andrei Tarkovsky, Larissa Shepitko, and Sergei Parajanov, as well as the German filmmaker Hans-Jürgen Syberberg. Brakhage was a keen viewer of these filmmakers and their contemporaries, both at Telluride and in his role as teacher at the University of Colorado, and Stan Brakhage and Rolling Stock attempts to place his work alongside theirs and thus reclaim him for world cinema. The book's appendices reprint letters Brakhage wrote to Stella Pence (Telluride's co-founder and managing director), as well as summaries of his work for Telluride and a brace of difficult-to-find reviews.

Motion pictures --- History. --- History and criticism --- Brakhage, Stan. --- Sanders, Robert, --- Brakhage, James Stanley --- S. B. --- B., S. --- American avant garde. --- European cinema. --- Film Studies. --- Soviet filmmakers. --- Stan Brakahge. --- experimental film. --- film festivals. --- small magazines. --- world cinema.

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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