Re: [Frameworks] seminal writing on American a/g film after 76

[Ekrem Serdar]

The timing of the neverending conversation coincided nicely with me getting
the new MFJ - David Curtis mentions how Maya Deren saw her films as
"chamber cinema":

"Maya Deren...described her own films as 'chamber cinema' rather than
experimental or avant-garde film, making a crucial point about scale and
appropriate context. Implicitly, she saw artists' film as small in scale,
which like chamber music should ideally be performed to an attentive
audience in an intimate space. Chamber films were 'poetic, lyric-form,
abstract, eloquent,' and required small groups of 'virtuoso performers,
with every note heard individually,' not lost within a larger
orchestration."

(via David Curtis in Fall 13 MFJ, Deren quotes from a lecture she gave at
Smith College)

Obviously her description applies very specifically to her own films, but
as a matter of bringing to mind scale / intimacy, I really like the term.
Obviously it's far too specific in it's historical referent while being far
too open in it's cinematic one to legitimately be used in general, but a
nice way to think when making / putting on shows on a personal level.


On Fri, Nov 8, 2013 at 7:56 AM, Cari Machet  wrote:

> agreed the threshold is ever forward
>
> thinking somehow that the time u exist in has a holding on anything like
> expansion is just what in the psyche ?
>
> Cari Machet
> NYC 646-436-7795
> carimac...@gmail.com
> AIM carismachet
> Skype carimachet - 646-652-6434
> Syria +963-099 277 3243
> Amman +962 077 636 9407
> Berlin +49 152 11779219
> Twitter: @carimachet 
>
> Ruh-roh, this is now necessary: This email is intended only for the
> addressee(s) and may contain confidential information. If you are not the
> intended recipient, you are hereby notified that any use of this
> information, dissemination, distribution, or copying of this email without
> permission is strictly prohibited.
>
>
>
> On Fri, Nov 8, 2013 at 2:43 PM, o...@thenowcorporation.com <
> o...@thenowcorporation.com> wrote:
>
>> interesting. avant garde,experimental,personal. I think ag filmmaking is
>> personal filmmaking. films made for viewing by art, poetry and film lovers
>> and/or people who are inquisitive and open to non traditional forms and/or
>> subjects. films made by artists for the many reasons anyone makes art.
>> that will endure.
>> Owen
>>
>>
>> > On Nov 7, 2013, at 7:31 PM, Fred Camper  wrote:
>> >
>> > Quoting Stashu Kybartas :
>> >
>> >> There is no avant-garde now.  The internet insures that NOTHING will
>> stay avant - EVER.
>> >
>> > I tried to make this point pre-Internet, in my 1986 article "The End of
>> Avant-Garde Film" in the 20th anniversary issue of "Millennium Film
>> Journal."
>> > By 1986, in my opinion, common usage was that an "experimental" or
>> "avant-garde" film was a film with certain features, such as scratching or
>> painting on film, a limited or abstracted narrative, non-linear editing,
>> very small cast and crew, and others -- some of these if not all of them.
>> Scratching on film was by then no longer "avant-garde," in the sense of new
>> or advanced, and the terms "experimental" and "avant-garde" has come to
>> denote a style of filmmaking. This is neither good nor bad, but one
>> important reason to understand it is that artists must realize that
>> techniques already used don't justify themselves; everything depends on the
>> total work.
>> >
>> > Fred Camper
>> > Chicago
>> >
>> > ___
>> > FrameWorks mailing list
>> > FrameWorks@jonasmekasfilms.com
>> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>


-- 
ekrem serdar
austin, tx
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Re: [Frameworks] seminal writing on American a/g film after 76

[Cari Machet]

agreed the threshold is ever forward

thinking somehow that the time u exist in has a holding on anything like
expansion is just what in the psyche ?

Cari Machet
NYC 646-436-7795
carimac...@gmail.com
AIM carismachet
Skype carimachet - 646-652-6434
Syria +963-099 277 3243
Amman +962 077 636 9407
Berlin +49 152 11779219
Twitter: @carimachet 

Ruh-roh, this is now necessary: This email is intended only for the
addressee(s) and may contain confidential information. If you are not the
intended recipient, you are hereby notified that any use of this
information, dissemination, distribution, or copying of this email without
permission is strictly prohibited.



On Fri, Nov 8, 2013 at 2:43 PM, o...@thenowcorporation.com <
o...@thenowcorporation.com> wrote:

> interesting. avant garde,experimental,personal. I think ag filmmaking is
> personal filmmaking. films made for viewing by art, poetry and film lovers
> and/or people who are inquisitive and open to non traditional forms and/or
> subjects. films made by artists for the many reasons anyone makes art.
> that will endure.
> Owen
>
>
> > On Nov 7, 2013, at 7:31 PM, Fred Camper  wrote:
> >
> > Quoting Stashu Kybartas :
> >
> >> There is no avant-garde now.  The internet insures that NOTHING will
> stay avant - EVER.
> >
> > I tried to make this point pre-Internet, in my 1986 article "The End of
> Avant-Garde Film" in the 20th anniversary issue of "Millennium Film
> Journal."
> > By 1986, in my opinion, common usage was that an "experimental" or
> "avant-garde" film was a film with certain features, such as scratching or
> painting on film, a limited or abstracted narrative, non-linear editing,
> very small cast and crew, and others -- some of these if not all of them.
> Scratching on film was by then no longer "avant-garde," in the sense of new
> or advanced, and the terms "experimental" and "avant-garde" has come to
> denote a style of filmmaking. This is neither good nor bad, but one
> important reason to understand it is that artists must realize that
> techniques already used don't justify themselves; everything depends on the
> total work.
> >
> > Fred Camper
> > Chicago
> >
> > ___
> > FrameWorks mailing list
> > FrameWorks@jonasmekasfilms.com
> > https://mailman-mail5.webfaction.com/listinfo/frameworks
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] seminal writing on American a/g film after 76

[o...@thenowcorporation.com]

interesting. avant garde,experimental,personal. I think ag filmmaking is 
personal filmmaking. films made for viewing by art, poetry and film lovers 
and/or people who are inquisitive and open to non traditional forms and/or 
subjects. films made by artists for the many reasons anyone makes art. 
that will endure. 
Owen


> On Nov 7, 2013, at 7:31 PM, Fred Camper  wrote:
> 
> Quoting Stashu Kybartas :
> 
>> There is no avant-garde now.  The internet insures that NOTHING will stay 
>> avant - EVER.
> 
> I tried to make this point pre-Internet, in my 1986 article "The End of 
> Avant-Garde Film" in the 20th anniversary issue of "Millennium Film Journal."
> By 1986, in my opinion, common usage was that an "experimental" or 
> "avant-garde" film was a film with certain features, such as scratching or 
> painting on film, a limited or abstracted narrative, non-linear editing, very 
> small cast and crew, and others -- some of these if not all of them. 
> Scratching on film was by then no longer "avant-garde," in the sense of new 
> or advanced, and the terms "experimental" and "avant-garde" has come to 
> denote a style of filmmaking. This is neither good nor bad, but one important 
> reason to understand it is that artists must realize that techniques already 
> used don't justify themselves; everything depends on the total work.
> 
> Fred Camper
> Chicago
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
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Re: [Frameworks] seminal writing on American a/g film after 76

[Jack Sargeant]

Hi

Not sure how you are defining avant-garde, but what follows is a list of books 
(and a couple of articles and / or chapters) that deal in whole or part with 
experimental / underground / avant-garde (?) cinema post '76, or are over views 
which trace the influence of a pre-76 filmmaker beyond '76. 

best

Jack Sargeant


Steve Anker, Kathy Geritz, Steve Seid, eds, Radical Light: Alternative Film And 
Video in the San Francisco Bay Area, 1945-2000, University of California Press, 
Berkeley, 2010

Dirk de Bruyn, ‘D-Light + MM2 = Dutch Experimental Film’ in Senses of Cinema, 
issue 34, February 8th, 2005

Ian Christie, ‘Histories of the Future: Mapping the Avant-Garde’ Film History, 
Vol 20, 2008

Martha Gever, John Greyson and Pratibha Parmar, eds, Queer Looks: Perspectives 
on Lesbian and Gay Film and Video, Routledge, London, 1993

Branden W Joseph, Beyond the Dream Syndicate, Tony Conrad and the Arts After 
Cage (A ‘Minor’ History), Zone Books, New York, 2011.

George Kuchar, ‘Cans and Cassettes’, Journal of Film and Video, Vol 57, no 1 / 
2, Spring / Summer 2005

Andrew Perchuk and Rani Singh, eds, Harry Smith The Avant Garde In The American 
Vernacular, Getty Research Institute, Los Angeles, 2010

Susanne Pfeffer, ed, You Killed Me First: The Cinema of Transgression, Koenig 
Books, London, 2012

Duncan Reekie Subversion: The Definitive History of Underground Film, 
Wallflower Press, London, 2007

 A. L. Rees A History of Experimental Film and Video: From the Canonical 
Avant-Garde to Contemporary British Practice, BFI, London, 1999

 Jack Sargeant, Deathtripping: The Extreme Underground, Soft Skull, New York, 
2007 (first published as Deathtripping: The Cinema of Transgression, 1995, 
Creation Books, London, 1995)

 Jack Sargeant, Naked Lens: Beat Cinema, Soft Skull, New York, 2009 (1997)

 Jack Sargeant, ‘This Is Hardcore’, in Firoza Elavia, ed, Cinematic Folds: The 
Furling and Unfurling of Images, Pleasure Dome, Toronto, 2008

Jack Stevenson Land of a Thousand Balconies: Discoveries and Confessions of a 
B-Movie Archaeologist, Critical Vision, Manchester, 2003

Jack Stevenson Scandinavian Blue: The Erotic Cinema of Sweden and Denmark in 
the 1960s and 1970s, McFarland and Company, Inc, Publishers, Jefferson and 
London, 2010



 
> Here's another one:
> Indiscretions: Avant-Garde Film, Video, and Feminism
> by Patricia Melllencap (Indiana University Press)
> 
> 
> 
> De: "William Wees, Dr." 
> Para: Experimental Film Discussion List  
> Enviado: Jueves 7 de noviembre de 2013 2:26
> Asunto: Re: [Frameworks] seminal writing on American a/g film after 76
> 
> I would suggest chapters 13 and 14 of Visionary Film: The American 
> Avant-Garde, 3rd edition, by P. Adams Sitney, Oxford University Press, 2002; 
> A Line of Sight: American Avant-Garde Film Since 1965, by Paul Arthur, 
> University of Minnesota Press, 2005; and in all humility, a couple of essays 
> by myself: ”The Changing of the Garde(s)” in Public, No. 25, 2002, and “No 
> More Giants” in Women and Experimental Filmmaking, eds. Jean Petrolle and 
> Virginia Wright Wexman, University of Illinois Press, 2005.
>  
> --Bill Wees
>  
>  
> From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
> Ara Osterweil
> Sent: November 5, 2013 10:19 AM
> To: frameworks
> Subject: [Frameworks] seminal writing on American a/g film after 76
>  
> Hello all,
> A friend is compiling a bibliography and needs to know the 4-5 most important 
> scholarly books or articles on American a/g film made after 1976. My 
> scholarship on the a/g is mostly in the 60s and 70s and while I know much of 
> the work that comes after, I wanted to confirm my suspicions.
> Suggestions welcome and appreciated.
> Thanks,
> Ara
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] seminal writing on American a/g film after 76

[Fred Camper]

Quoting Scott Dorsey :


My high school girlfriend's father was heard once to say, "I don't like
avant-garde music... like later Beethoven."


Actually Beethoven's Opus 131 is far more "avant-garde" that most  
films, of any type, made today, in the sense that it feels like it is  
pushing into territorries few artists have ever reachedIt is not  
easy to listen to, and certainly not easy to "understand."


Fred Camper
Chicago

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Re: [Frameworks] seminal writing on American a/g film after 76

[George Griffin]

Your girlfriend's father hit the ball out of the park: the late quartets are 
perhaps the best example of an "avant-garde" expression in any art. Hated in 
its time (1825), vastly influential for later composers, this music still seems 
new and disturbing. Can the same be said for any film experiments of the past 
century? Only time will tell.

GG

  
On Nov 7, 2013, at 7:58 PM, Scott Dorsey wrote:

> My high school girlfriend's father was heard once to say, "I don't like
> avant-garde music... like later Beethoven."
> 
> I think there will always be an avant-garde for someone
> --scott
> ___
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Re: [Frameworks] seminal writing on American a/g film after 76

[Scott Dorsey]

My high school girlfriend's father was heard once to say, "I don't like
avant-garde music... like later Beethoven."

I think there will always be an avant-garde for someone
--scott
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Re: [Frameworks] seminal writing on American a/g film after 76

[Fred Camper]

Quoting Stashu Kybartas :

There is no avant-garde now.  The internet insures that NOTHING will  
stay avant - EVER.


I tried to make this point pre-Internet, in my 1986 article "The End  
of Avant-Garde Film" in the 20th anniversary issue of "Millennium Film  
Journal."
By 1986, in my opinion, common usage was that an "experimental" or  
"avant-garde" film was a film with certain features, such as  
scratching or painting on film, a limited or abstracted narrative,  
non-linear editing, very small cast and crew, and others -- some of  
these if not all of them. Scratching on film was by then no longer  
"avant-garde," in the sense of new or advanced, and the terms  
"experimental" and "avant-garde" has come to denote a style of  
filmmaking. This is neither good nor bad, but one important reason to  
understand it is that artists must realize that techniques already  
used don't justify themselves; everything depends on the total work.


Fred Camper
Chicago

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Re: [Frameworks] seminal writing on American a/g film after 76

[Gawthrop, Rob]

If Avant-garde  is considered as any politically advanced or progressive
cultural practice then there is still a desperate need for it (though the
concept of 'progressive' may have ceased). The contexts of globalisation,
reification and commodification  need resisting and not conforming to.
Post-modernity isas Lyotard put it, a condition and as a condition (and not
a successor, 'replacement or 'style') and encompasses both the traditional
and the modern.

Rob


On 07/11/2013 20:59, "Myron Ort"  wrote:

>
> a·vant-garde
>
> noun
> 1.
> new and unusual or experimental ideas, esp. in the arts, or the people
> introducing them.
>
>
>
>
> adjective
> 1.favoring or introducing experimental or unusual ideas.
>
>
>
>
>
> So avant garde science would include all the unsuccessful experiments
> regardless of  significance, validity, or connection to any historical
> development.
> Fortunately science never succumbed to the "tradition of the new" which
> undermined sanity in the arts. Insanity seems to rule and reference to or use
> of tradition is branded as (been there done that - anti avant garde)
> plagiarism.
> I prefer the idea of art, like science, being built on a history of useful
> discoveries for expression, not expression for its own sake at the expense of
> insightful universality, technique, and craft.
>
> -not making any friends,
> Myron Ort
>
>
>
>
> On Nov 7, 2013, at 11:25 AM, Stashu Kybartas wrote:
>
>> Perhaps we should just admit that the Avant-Garde ended where Post-Modernism
>> and identity politics picked up. (the Post 70s chapters in Sitney
>> notwithstanding). The take was driven into the heart of the Avant-Garde at
>> the turn of this century with the web.
>>
>> There is no avant-garde now.  The internet insures that NOTHING will stay
>> avant - EVER.
>>
>> This is not nescessarily a bad thing.  Time to move on to the great future
>> where everything is available to everyone all the time - no exclusive clubs
>> anymore.
>>
>> Keep the faith...
>>
>>
>>
>> Stashu Kybartas
>> Lecturer IV
>> University of Michigan
>> Department of Screen Arts and Cultures
>> 6330 North Quad
>> 105 South State Street
>> Ann Arbor, MI 48109-1285
>>
>> (734) 546-9966
>> (773) 348-4292
>>
>> On Nov 7, 2013, at 11:59 AM, Albert Alcoz  wrote:
>>
>>> Here's another one:
>>> Indiscretions: Avant-Garde Film, Video, and Feminism
>>> by Patricia Melllencap (Indiana University Press)
>>>
>>>
>>>
>>> De: "William Wees, Dr." 
>>> Para: Experimental Film Discussion List 
>>> Enviado: Jueves 7 de noviembre de 2013 2:26
>>> Asunto: Re: [Frameworks] seminal writing on American a/g film after 76
>>>
>>> I would suggest chapters 13 and 14 of Visionary Film: The American
>>> Avant-Garde, 3rd edition, by P. Adams Sitney, Oxford University Press, 2002;
>>> A Line of Sight: American Avant-Garde Film Since 1965, by Paul Arthur,
>>> University of Minnesota Press, 2005; and in all humility, a couple of essays
>>> by myself: ²The Changing of the Garde(s)² in Public, No. 25, 2002, and ³No
>>> More Giants² in Women and Experimental Filmmaking, eds. Jean Petrolle and
>>> Virginia Wright Wexman, University of Illinois Press, 2005.
>>>
>>> --Bill Wees
>>>
>>>
>>> From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf
>>> Of Ara Osterweil
>>> Sent: November 5, 2013 10:19 AM
>>> To: frameworks
>>> Subject: [Frameworks] seminal writing on American a/g film after 76
>>>
>>> Hello all,
>>> A friend is compiling a bibliography and needs to know the 4-5 most
>>> important scholarly books or articles on American a/g film made after 1976.
>>> My scholarship on the a/g is mostly in the 60s and 70s and while I know much
>>> of the work that comes after, I wanted to confirm my suspicions.
>>> Suggestions welcome and appreciated.
>>> Thanks,
>>> Ara
>>>
>>>

Falmouth University

___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>>
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
> ___
FrameWorks mailing
> list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listi
> nfo/frameworks


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Re: [Frameworks] seminal writing on American a/g film after 76

[Myron Ort]

a·vant-garde

noun
1.
new and unusual or experimental ideas, esp. in the arts, or the people 
introducing them.




adjective
1.favoring or introducing experimental or unusual ideas.





So avant garde science would include all the unsuccessful experiments 
regardless of  significance, validity, or connection to any historical 
development.
Fortunately science never succumbed to the "tradition of the new" which 
undermined sanity in the arts. Insanity seems to rule and reference to or use 
of tradition is branded as (been there done that - anti avant garde) plagiarism.
I prefer the idea of art, like science, being built on a history of useful 
discoveries for expression, not expression for its own sake at the expense of 
insightful universality, technique, and craft.

-not making any friends, 
Myron Ort




On Nov 7, 2013, at 11:25 AM, Stashu Kybartas wrote:

> Perhaps we should just admit that the Avant-Garde ended where Post-Modernism 
> and identity politics picked up. (the Post 70s chapters in Sitney 
> notwithstanding). The take was driven into the heart of the Avant-Garde at 
> the turn of this century with the web.
> 
> There is no avant-garde now.  The internet insures that NOTHING will stay 
> avant - EVER.  
> 
> This is not nescessarily a bad thing.  Time to move on to the great future 
> where everything is available to everyone all the time - no exclusive clubs 
> anymore.
> 
> Keep the faith...
> 
> 
> 
> Stashu Kybartas
> Lecturer IV
> University of Michigan
> Department of Screen Arts and Cultures
> 6330 North Quad
> 105 South State Street
> Ann Arbor, MI 48109-1285
> 
> (734) 546-9966
> (773) 348-4292
> 
> On Nov 7, 2013, at 11:59 AM, Albert Alcoz  wrote:
> 
>> Here's another one:
>> Indiscretions: Avant-Garde Film, Video, and Feminism
>> by Patricia Melllencap (Indiana University Press)
>> 
>> 
>> 
>> De: "William Wees, Dr." 
>> Para: Experimental Film Discussion List  
>> Enviado: Jueves 7 de noviembre de 2013 2:26
>> Asunto: Re: [Frameworks] seminal writing on American a/g film after 76
>> 
>> I would suggest chapters 13 and 14 of Visionary Film: The American 
>> Avant-Garde, 3rd edition, by P. Adams Sitney, Oxford University Press, 2002; 
>> A Line of Sight: American Avant-Garde Film Since 1965, by Paul Arthur, 
>> University of Minnesota Press, 2005; and in all humility, a couple of essays 
>> by myself: ”The Changing of the Garde(s)” in Public, No. 25, 2002, and “No 
>> More Giants” in Women and Experimental Filmmaking, eds. Jean Petrolle and 
>> Virginia Wright Wexman, University of Illinois Press, 2005.
>>  
>> --Bill Wees
>>  
>>  
>> From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf 
>> Of Ara Osterweil
>> Sent: November 5, 2013 10:19 AM
>> To: frameworks
>> Subject: [Frameworks] seminal writing on American a/g film after 76
>>  
>> Hello all,
>> A friend is compiling a bibliography and needs to know the 4-5 most 
>> important scholarly books or articles on American a/g film made after 1976. 
>> My scholarship on the a/g is mostly in the 60s and 70s and while I know much 
>> of the work that comes after, I wanted to confirm my suspicions.
>> Suggestions welcome and appreciated.
>> Thanks,
>> Ara
>> 
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> 
>> 
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] seminal writing on American a/g film after 76

[Stashu Kybartas]

Perhaps we should just admit that the Avant-Garde ended where Post-Modernism 
and identity politics picked up. (the Post 70s chapters in Sitney 
notwithstanding). The take was driven into the heart of the Avant-Garde at the 
turn of this century with the web.

There is no avant-garde now.  The internet insures that NOTHING will stay avant 
- EVER.  

This is not nescessarily a bad thing.  Time to move on to the great future 
where everything is available to everyone all the time - no exclusive clubs 
anymore.

Keep the faith...



Stashu Kybartas
Lecturer IV
University of Michigan
Department of Screen Arts and Cultures
6330 North Quad
105 South State Street
Ann Arbor, MI 48109-1285

(734) 546-9966
(773) 348-4292

On Nov 7, 2013, at 11:59 AM, Albert Alcoz  wrote:

> Here's another one:
> Indiscretions: Avant-Garde Film, Video, and Feminism
> by Patricia Melllencap (Indiana University Press)
> 
> 
> 
> De: "William Wees, Dr." 
> Para: Experimental Film Discussion List  
> Enviado: Jueves 7 de noviembre de 2013 2:26
> Asunto: Re: [Frameworks] seminal writing on American a/g film after 76
> 
> I would suggest chapters 13 and 14 of Visionary Film: The American 
> Avant-Garde, 3rd edition, by P. Adams Sitney, Oxford University Press, 2002; 
> A  Line of Sight: American Avant-Garde Film Since 1965, by Paul Arthur, 
> University of Minnesota Press, 2005; and in all humility, a couple of essays 
> by myself: ”The Changing of the Garde(s)” in Public, No. 25, 2002, and “No 
> More Giants” in Women and Experimental Filmmaking, eds. Jean Petrolle and 
> Virginia Wright Wexman, University of Illinois Press, 2005.
>  
> --Bill Wees
>  
>  
> From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
> Ara Osterweil
> Sent: November 5, 2013 10:19 AM
> To: frameworks
> Subject: [Frameworks] seminal writing on American a/g film after 76
>  
> Hello all,
> A friend is compiling a bibliography and needs to know the 4-5 most important 
> scholarly books or articles on American a/g film made after 1976. My 
> scholarship on the a/g is mostly in the 60s and 70s and while I know much of 
> the work that comes after, I wanted to confirm my suspicions.
> Suggestions welcome and appreciated.
> Thanks,
> Ara
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] seminal writing on American a/g film after 76

[Albert Alcoz]

Here's another one:
Indiscretions: Avant-Garde Film, Video, and Feminism
by Patricia Melllencap (Indiana University Press)





 De: "William Wees, Dr." 
Para: Experimental Film Discussion List  
Enviado: Jueves 7 de noviembre de 2013 2:26
Asunto: Re: [Frameworks] seminal writing on American a/g film after 76
 


 
I would suggest chapters 13 and 14 of Visionary Film: The American Avant-Garde, 
3rd edition, by P. Adams Sitney, Oxford University Press, 2002; A Line of 
Sight: American Avant-Garde Film Since 1965, by Paul Arthur, University of 
Minnesota Press, 2005; and in all humility, a couple of essays by myself: ”The 
Changing of the Garde(s)” in Public, No. 25, 2002, and “No More Giants” in 
Women and Experimental Filmmaking, eds. Jean Petrolle and Virginia Wright 
Wexman, University of Illinois Press, 2005.
 
--Bill Wees
 
 
From:FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Ara Osterweil
Sent: November 5, 2013 10:19 AM
To: frameworks
Subject: [Frameworks] seminal writing on American a/g film after 76
 
Hello all,
A friend is compiling a bibliography and needs to know the 4-5 most important 
scholarly books or articles on American a/g film made after 1976. My 
scholarship on the a/g is mostly in the 60s and 70s and while I know much of 
the work that comes after, I wanted to confirm my suspicions.
Suggestions welcome and appreciated.
Thanks,
Ara
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] seminal writing on American a/g film after 76

[William Wees, Dr.]

I would suggest chapters 13 and 14 of Visionary Film: The American Avant-Garde, 
3rd edition, by P. Adams Sitney, Oxford University Press, 2002; A Line of 
Sight: American Avant-Garde Film Since 1965, by Paul Arthur, University of 
Minnesota Press, 2005; and in all humility, a couple of essays by myself: "The 
Changing of the Garde(s)" in Public, No. 25, 2002, and "No More Giants" in 
Women and Experimental Filmmaking, eds. Jean Petrolle and Virginia Wright 
Wexman, University of Illinois Press, 2005.

--Bill Wees


From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Ara Osterweil
Sent: November 5, 2013 10:19 AM
To: frameworks
Subject: [Frameworks] seminal writing on American a/g film after 76

Hello all,
A friend is compiling a bibliography and needs to know the 4-5 most important 
scholarly books or articles on American a/g film made after 1976. My 
scholarship on the a/g is mostly in the 60s and 70s and while I know much of 
the work that comes after, I wanted to confirm my suspicions.
Suggestions welcome and appreciated.
Thanks,
Ara
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Re: [Frameworks] seminal writing on American a/g film after 76

[Jonathan Walley]

Hello Ara,

This is a tough one, unfortunately. I'm trying to compile a list that I can
respond with in the next couple of days, but in the meantime I'd also post
this question to ExFM's facebook page.

Frameworkers, ExFM is the Experimental Film and Media Scholarly Interest
Group, which is part of the Society for Cinema and Media studies (the best
part!). "Official" membership is limited to members of SCMS, but anyone
interested in avant-garde cinema can join our facebook page - even I'm on
and I hate facebook.

Best to all,
Jonathan


On Tue, Nov 5, 2013 at 10:18 AM, Ara Osterweil wrote:

> Hello all,
> A friend is compiling a bibliography and needs to know the 4-5 *most
> important scholarly book*s or articles on *American a/g film made after
> 1976*. My scholarship on the a/g is mostly in the 60s and 70s and while I
> know much of the work that comes after, I wanted to confirm my suspicions.
> Suggestions welcome and appreciated.
> Thanks,
> Ara
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>


-- 
Jonathan Walley
Associate Professor
Department of Cinema
Denison University
wall...@denison.edu
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[Frameworks] seminal writing on American a/g film after 76

[Ara Osterweil]

Hello all,A friend is compiling a bibliography and needs to know the 4-5 most 
important scholarly books or articles on American a/g film made after 1976. My 
scholarship on the a/g is mostly in the 60s and 70s and while I know much of 
the work that comes after, I wanted to confirm my suspicions.Suggestions 
welcome and appreciated.Thanks,Ara ___
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FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks