Line Of Sight: American Avant-Garde Film Since 1965 download epub
by Paul Arthur
Line Of Sight: American . .has been added to your Cart. This book is a compilation of essays. The author clearly has serious personal involvement with American avant-garde films as evidenced by his sections on finances, distribution and the internal politics of the film movement.
Line Of Sight: American . These essays are straightforward reads. And he deliniates a number of interesting genre's (. However his voice often veers off into turgid, post-modernist, academic prose.
Balancing close analysis of both major and lesser-known films with detailed examinations of their productio For three decades, Paul Arthur has been a leading observer and critic as well as a direct participant in America’s avant-garde cinema.
For three decades, Paul Arthur has been a leading observer and critic as well as a direct participant in America’s avant-garde cinema.
For three decades, Paul Arthur has been a leading observer and critic as well as a direct participant in America's avant-garde cinema.
A Line of Sight : American Avant-Garde Film since 1965. The Avant-Gardes and European Cinema before 1930. New York: Oxford University Press, 1998. Minneapolis : University of Minnesota Press, 2005. Springing Tired Chains: Experimental Film and Video. Some formalist tendencies in the current American avant-garde film. Studio v 184 Oct 1972. p. 110-14 Curtis, David. Experimental Cinema: A Fifty Year Evolution.
Visionary film : the American avant-garde, 1943-zooo, P. Adams Sitney. 3rd ed. cm. Includes bibliographical references and index.
Avant-garde film wasn’t considered an art form, but a kind of pathological .
By contrast, his analysis of avant-garde film portraiture in Identity and/as Moving Image is unconvincing.
Arthur, Paul (15 January 2005). Line Of Sight: American Avant-Garde Film Since 1965. Currents of Comedy on the American Screen: How Film and Television Deliver Different Laughs for Changing Times. University of Minnesota Press. ISBN 978-0-8166-4265-6. Connolly, Maeve (7 January 2009). The Place of Artists' Cinema: Space, Site, and Screen. ISBN 978-1-84150-246-5. Elder, R. Bruce (2008). Harmony and Dissent: Film and Avant-Garde Art Movements in the Early Twentieth Century. Wilfrid Laurier Univ. ISBN 978-1-55458-028-6. Graf, Alexander; Scheunemann, Dietrich (2007). ISBN 978-0-7864-4264-5.
The New copy of this book will include any supplemental materials advertised. 4. The Resurgence of History and the Avant-Garde Essay Film.
Coauthors & Alternates.
Line Of Sight: American Avant-Garde Film Since 1965: ISBN 9780816642656 (978-0-8166-4265-6) Softcover, Univ Of Minnesota Press, 2005. Northern Ireland Since 1968 2e (Making Contemporary Britain). Coauthors & Alternates.
For three decades, Paul Arthur has been a leading observer and critic as well as a direct participant in Americas avant-garde cinema. InA Line of Sight, he provides a sweeping new account of the extravagant energies of American experimental cinema since 1965.
Balancing close analysis of both major and lesser-known films with detailed examinations of their production, distribution, and exhibition, Arthur addresses the avant-gardes cultural significance while offering a timely reconsideration of accepted critical categories and artistic options. Rather than treating American avant-garde cinema as a series of successive artistic breakthroughs, A Line of Sightemphasizes the importance of social and institutional networks, material exchanges, and historical disruptions and continuities. Throughout, Arthur pays close attention to themes and visual practices neglected or underrepresented in previous studies, scrutinizing portraiture as a vehicle for projecting dissident identities, highlighting the essay film and the contemporary city symphony, and assessing the contributions of regional and African American filmmaking to the avant-garde. He also explores thematic and formal questions that have been central to the avant-garde achievement: experimental film's relationship with mainstream narrative cinema and postwar American painting as well as the legacy of sixtiess counterculture; the uses and theoretical implications of found footage and the allegorizing of technology; and the schism between a poetic, expressive cinema and the antisubjective, rationalist bias of structural filmmaking.
Amid the current resurgence of experimental filmmakers and the emergence of a new audience for their work,A Line of Sight reaffirms the extraordinary breadth and diversity of the avant-garde tradition in America.