Avant-garde, Underground, and Experimental Cinema:
A Selected Bibliography/Videography of Materials in the UC Berkeley












General and Miscellaneous works
Books
Journal Articles
Dada and Surrealist Film
Works about individual filmmakers

Books

1,2,3 -- avant-gardes : film, art between experiment and archive
Editors: Lukasz Ronduda, Florian Warsaw : Centre for Contemporary Art ; Berlin ; New York : Sternberg, 2007.
Main (Gardner) Stacks

After the avant-garde : contemporary German and Austrian experimental film
Edited by Randall Halle and Reinhild Steingröver. Rochester, N.Y. : Camden House, 2008.
Main (Gardner) Stacks PN1995.9.E96 A38 2008

Andere Avant Garde.
Linz: Gutenberg, 1984.
MAIN: N6886.L5 A6 1983

Art in Cinema Society.
Art in Cinema: A Symposium on the Avantgarde Film Together with Program Notes and References for Series one of Art in Cinema / Edited by Frank Stauffacher. [1st ed.] . San Francisco: Art in Cinema Society, 1947.
UCB Bancroft PN1995.9.E8 A7
UCB Main PN1995.9.E96 A7

Arthur, Paul.
A line of sight : American avant-garde film since 1965 Minneapolis : University of Minnesota Press, c2005.
MAIN: PN1995.9.E96 A78 2005
PFA : PN1995.9.E96 A78 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0421/2004018120.html

Arthur, Paul.
"Springing Tired Chains: Experimental Film and Video." In: Struggles for representation: African American documentary film and video / edited by Phyllis R. Klotman and Janet K. Cutler. pp: 268-97. Bloomington: Indiana University Press, c1999.
UCB Main PN1995.9.N4 S77 1999

Aubert, Jean-Paul.
L'école de Barcelone : un cinéma d'avant-garde en Espagne sous le franquisme / Jean-Paul Aubert." Paris : Harmattan, c2009.
Main (Gardner) Stacks PN1995.9.E96 A82 2009

Avant-garde film
Edited by Alexander Graf and Dietrich Scheunemann. Amsterdam ; New York : Rodopi, 2007.
MAIN: PN1995.9.E96 A89 2007

The Avant-garde Film: A Reader of Theory and Criticism
Edited by P. Adams Sitney. New York: New York University Press, 1978. Series title: Anthology film archives series; #3.
UCB Main PN1995.9.E96 A9
UCB Moffitt PN1995.9.E96 A9

Blaetz, Robin.
"Avant-garde cinema of the Seventies." In: Lost illusions : American cinema in the shadow of Watergate and Vietnam, 1970-1979 / David A. Cook. Berkeley : University of California Press, 2002.
PFA PN1993.5.U6.H6 1994 vol. 9
MAIN: PN1993.5.U6 H55 1990 v.9

Brakhage, Stan.
Film at Wit's End: Eight Avant-garde Filmmakers / Stan Brakhage. 1st ed. Kingston, N.Y.: Documentext, c1989.
CB Main PN1995.9.E96 B741 1989
UCB Moffitt PN1995.9.E96 B74 1989

Brakhage, Stan.
Metaphors on Vision / Brakhage; edited with an introduction by P. Adams Sitney. [s.l.: s.n.], 1963.
UCB Main PN1998.A3 B61 1963
Moffitt PN1998.A3 B6 1976 (another edition)

Broadhurst, Susan.
Liminal acts: a critical overview of contemporary performance and theory London; New York: Cassell, 1999.
MAIN: PN2193.E86 B76 1999

Bury, Pol
Cinematique [Paris] : Maeght, c2006.
MAIN: PN1998.3.B877 A5 2006

Cammaer, Gerda.
Placing spaces, spacing places : Canadian experimental films & videos since 1990 Halifax, N.S. : MSVU Art Gallery, c2003.
MAIN: PN1995.9.E96 C38 2003

Canadian experimental films & videos of the 1990s
Gerda Johanna Cammaer, guest curator. Halifax, N.S. : Mount Saint Vincent University Art Gallery ; Montreal : Distributed by ABC Art Books Canada, c2002.
MAIN: PN1995.9.E96 C36 2002

Christie, Ian.
"The Avant-Gardes and European Cinema before 1930." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson; consultant editors, Richard Dyer, E. Ann Kaplan, Paul Willemen. pp: 449-54. Oxford; New York: Oxford University Press, 1998.
UCB Main PN1995 .O93 1998

Cinema & (in)dependance: une economie politique
[Paris]: Presses de la Sorbonne Nouvelle, c1998.
MAIN: PN1995.9.E96 C5 1998

Il cinema d'avanguardia: 1910-1930
Venezia: Marsilio, 1997.
MAIN: PN1995.9.E96 C5 1997

Connolly, Maeve.
The place of artists' cinema : space, site and screen / Maeve Connolly. Bristol, UK ; Chicago, USA : Intellect, 2009.
Full text available online (UCB users only)
Main (Gardner) Stacks N6494.V53 C66 2009

Curtis, David
Experimental Cinema: A Fifty Year Evolution. London, Studio Vista, 1971.
UCB Main PN1995.9.E96 C8 1971b

Devaux, Frederique
Le Cinema Lettriste: (1951-1991) / Frederique Devaux; presentation par Christian Lebrat. Paris: Editions Paris experimental, c1992. Series title: Classiques de l'avant-garde 2.
NRLF B 3 913 723

Di Marino, Bruno.
Sguardo inconscio azione: cinema sperimentale e underground a Roma: 1965-1975Roma: Lithos, 1999.
MAIN: PN1993.5.I82 R654 1999

Ditschek, Eduard
Politisches Engagement und Medienexperiment: Theater und Film der Russischen und Deutschen Avantgarde der Zwanziger Jahre / Eduard Ditschek. Tubingen: G. Narr, c1989. Series title: Mannheimer Beitrage zur Sprach- und Literaturwissenschaft; 17.
NRLF B 3 690 048

Dittmar, Linda
"The voice of the other: women in third world and experimental film." In: Double vision: perspectives on gender and the visual arts / edited, and with an introduction by Natalie Harris Bluestone. p. 125-37. Madison: Fairleigh Dickinson University Press; London; Cranbury, NJ: Associated University Presses, c1995.
Main Stack N72.F45.D68 1995
Moffitt N72.F45.D68 1995

Dixon, Wheeler W.
The exploding Eye: A re-visionary History of 1960s American Experimental Cinema / Wheeler Winston Dixon. Albany: State University of New York Press, c1997. Series title: The SUNY series, cultural studies in cinema/video.
UCB Main PN1995.9.E96 D55 1997

Dwoskin, Stephen.
Film is ...: The International Free Cinema / [by] Stephen Dwoskin. London: Owen, 1975.
UCB Moffitt PN1995.9.E96 D9

Elder, Bruce (R. Bruce)
Body of vision: representations of the body in recent film and poetry Waterloo, Ont.: Wilfrid Laurier University Press, c1997.
MAIN: PN1995.9.B62 E43 1997

Elder, Bruce (R. Bruce)
Harmony + dissent : film and avant-garde art movements in the early twentieth century / R. Bruce Elder [Waterloo, Ont.] : Wilfrid Laurier University Press, c2008.
Main (Gardner) Stacks PN1995.25 .E63 2008

Experimental cinema : the film reader
Edited by Wheeler Winston-Dixon and Gwendolyn Audrey Foster. London ; New York : Routledge, 2002. Series In focus--Routledge film readers In focus--Routledge film readers.
Main Stack PN1995.9.E96 E96 2002

Experimental film and video : an anthology
Edited by Jackie Hatfield ; picture editor, Stephen Littman. Eastleigh, UK : John Libbey Pub. ; Bloomington, Ind. : Distributed in North America by Indiana University Press, 2006.
MAIN: PN1995.9.E96 E95 2006

Het Experiment in de Nederlandse Film
Paul de Mol, Nelly Voorhuis]. [Amsterdam]: Stedelijk Museum Amsterdam, c1985.
UCB Main PN1995.9.E96 E961 1985

Ferreira, Jairo
Cinema de Invencao Sao Paulo/SP: Limiar, 2000.
MAIN: PN1995.9.E96 F45 2000

Ferreira, Jairo
Cinema de Invencao / Jairo Ferreira. 1a. ed. Sao Paulo-SP: Empresa Brasileira de Filmes: Editora Max Limonad, 1986. Series title: CINEMAX.
UCB Main PN1995.9.E96 F451 1986

Filmł (kyü--bik film)
Editors, Anna Abrahams, Claartje Opdam, Mariska Graveland. Amsterdam : EYE Film Institute Netherlands : Amsterdam University Press, 2010.
Main (Gardner) Stacks PN1995.9.E96 F5255 2010

From underground to independent : alternative film culture in contemporary China
Edited by Paul G. Pickowicz and Yingjin Zhang. Lanham, Md. : Rowman & Littlefield, c2006.
CCSL: PN1995.9.E96 F76 2006
MAIN: PN1995.9.E96 F76 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0610/2006009574.html

Fuller, Greg S.
""Unquiet years": experimental cinema in the 1950s." In: Transforming the screen, 1950-1959 / Peter Lev. New York : Charles Scribner's Sons, 2003.
Main Stack PN1993.5.U6.H55 1990 v.7

The German Experimental Film of the Seventies
Edited by Ulrich Gregor. Munchen: Goethe-Institut, 1980.
UCB Main PN1993.5.G3 G47 1980

Ghali, Noureddine.
L'avant-garde Cinematographique en France dans les Znnees Vingt: Idees, Conceptions, Theories / Noureddine Ghali; postface de Dominique Noguez; edition etablie par Yumiko Ishikawa et Christian Lebrat. Paris: Paris experimental, c1995. Series title: Librairie du premier siecle du cinema. Series title: Classiques de l'avant-garde 6.
UCB Main PN1995.9.E96 G53 1995

Gidal, Peter.
"The Current British Avant-Garde Film: Some Problems in Context." In: The Undercut Reader: Critical Writings on Artist's Film and Video. Danino, Nina (ed. and introd.); Maziere, Michael. pp: 229-32. (ed. and introd.). Wallflower. London, England;
Main Stack PN1995.9.E96 U52 2003

Gidal, Peter.
Materialist Film / Peter Gidal. London; New York: Routledge, 1989.
UCB Main PN1995.9.E96 G53 1989

Haller, Robert A.
Crossroads : avant-garde film in Pittsburgh in the 1970s. New York : Anthology Film Archives, 2005.
PFA : PN1995.9.E96 H35 2005;

Hamlyn, Nicky.
Film art phenomena / Nicky Hamlyn. London : BFI Pub., 2003.
Main Stack PN1995.9.E96.H36 2003
Contents: Media. Film and video ; Digital media ; Expanded technologies ; Installation and its audience -- The apparatus. The frame and its dissolution ; Framing ; Holding the camera ; Point of view -- Aesthetics. Space ; Location ; Interactivity ; Sound, sync, performance ; Film, art, ideology.

Hawkins, Joan
Cutting edge: art-horror and the horrific avant-garde Minneapolis: University of Minnesota Press, c2000.
MAIN: PN1995.9.E96 H38 2000

DISSERTATION
Heil Jerry Tyrone.
The Russian Literary Avant-garde and the Cinema (1920s and 1930s): The Film-work of Isaak Babel' and Jurij Tynjanov / by Jerry Tyrone Heil. 1984.
NRLF C 2 935

Hein, Birgit
Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino. [Frankfurt: Ullstein [1971]. Series title: Ullstein-Bucher, Nr.2817.
UCB Main PN1995.9.E96 H4 1971

Hillairet, Prosper.
Paris Vu par le Cinema d'Avant-garde: 1923-1983: publie a l'occasion de la retrospective presentee au Musee National d'Art Moderne, Centre Georges Pompidou du 14 Novembre au 15 Decembre 1985. [manifestation et ... catalogue ... realises par l'Association Paris experimental] / Prosper Hillairet, Christian Lebrat, Patrice Rollet. Paris: Paris Experimental, 1985.
UCB Main PN1995.9.P3 H5 1985

Hoberman, J.
"After avant-garde film." In: Art after modernism: rethinking representation / edited and with an introduction by Brian Wallis; foreword by Marcia Tucker. p. 59-73. New York: New Museum of Contemporary Art; Boston: D.R. Godine, 1984. Documentary sources in contemporary art.
Main Stack NX456.5.P66.A741 1984

Isou, Isidore.
Contre le Cinema Situationniste, Neo-Nazi. / Isidore Isou. [Paris]: I. Isou; Paris (18, rue de Turbigo, 75002): [diffusion] Librairie la Guide, cop. 1979.
UCB Main PN1995.9.S6 I8

Jacobs, Lewis.
The Rise of the American Film, A Critical History. With an essay: Experimental Cinema in America, 1921-1947. New York, Teachers College Press [1968]. Series title: Studies in culture & communication.
GTU Library PN1993.5.U6 J2 1968
UCB Main PN1993.5.U6 J2 1968
UCB Moffitt PN1993.5.U6 J2 1968

James, David E.
Allegories of Cinema: American Film in the Sixties. / David E. James. Princeton, N.J.: Princeton University Press, c1989.
UCB Main PN1993.5.U6 J271 1989
UCB Moffitt PN1993.5.U6 J27 1989

Jeune, dure et pure!: une histoire du cinema d'avant-garde et experimental en France
[Paris]: Cinemath?eque francaise; Milano: Mazzotta, c2001.
MAIN: PN1995.9.E96 J48 2001

Jump Cut: Hollywood, Politics, and Counter Cinema.
Edited by Peter Steven. New York, NY: Praeger, 1985.
UCB Main PN1995.9.E96 J81 1985
UCB Moffitt PN1995.9.E96 J8 1985

Krarup, Helge
Eksperimentalfilm i Danmark / Helge Krarup og Carl Norrested. 1. udg. Copenhagen: Borgen, 1986.
UCB Main PN1995.9.E96 K71 1986

Le Grice, Malcolm.
Abstract Film and Beyond / Malcolm Le Grice. 1st U.S. ed. Cambridge, Mass.: MIT Press, 1977.
UCB Moffitt PN1995.9.E96L351 1977
UCB Main PN1995.9.E96 L35

Le Grice, Malcolm.
Experimental cinema in the digital age / Malcolm Le Grice. London: BFI Pub., 2001.
Main Stack PN1995.9.E96.L37 2001

Lemaitre, Maurice
1967-1969, le cafe-cinema Lemaitre : suivi de Huit filmes lettristes Paris : Paris experimental, 2003.
MAIN: PN1995.9.E96 L372 2003

Levy, Emanuel
Cinema of outsiders: the rise of American independent film New York: New York University Press, c1999.
MAIN: PN1995.9.E96 L43 1999

Lovers of Cinema: The First American Film Avant-garde, 1919-1945
Edited by Jan-Christopher Horak. Madison, Wis.: University of Wisconsin Press, c1995. Series title: Wisconsin studies in film.
UCB Main PN1995.9.E96 L68 1995

Ludus: cine, arte y deporte en la literatura espanñola de vanguardia
[Valencia]: Pre-Textos, c2000.
MAIN: PQ6073.E94 L83 2000

MacDonald, Scott
Avant-garde Film: Motion Studies / Scott MacDonald. Cambridge [England]; New York, NY, USA: Cambridge University Press, 1993. Series title: Cambridge film classics.
UCB Main PN1995.9.E96 M33 1993
UCB Moffitt PN1995.9.E96 M33 1993

MacDonald, Scott
A Critical Cinema 5 : interviews with independent filmmakers Berkeley, Calif. ; London : University of California Press, 2006.
PFA : PN1995.9.E96 M3433 2006

MacDonald, Scott
A Critical Cinema 4 : interviews with independent filmmakers. Berkeley, Calif. ; London : University of California Press, 2005.
MAIN: PN1995.9.E96 M3432 2005
MOFF: PN1995.9.E96 M3432 2005
PFA : PN1995.9.E96 M3432 2005

MacDonald, Scott
A Critical Cinema 3: Interviews with Independent Filmmakers / Scott MacDonald. Berkeley; London: University of California Press, c1998.
UCB Main PN1995.9.E96 M34 1998

MacDonald, Scott
A Critical Cinema 2: Interviews with Independent Filmmakers / Scott MacDonald. Berkeley: University of California Press, c1992.
UCB Main PN1995.9.E96 M342 1992

MacDonald, Scott
"Experimental cinema in the 1980s." In: A new pot of gold : Hollywood under the electronic rainbow, 1980-1989. Berkeley : University of California Press, 2002.
Bus & Econ PN1993.5.U6.H55 1994 vol. 10
MAIN: PN1993.5.U6 H55 1990 v.10

Macrae, David.
"Painterly Concepts and Filmic Objects: The Interaction of Expression and Re-Production in Early Avant-Garde Film." In: European avant-garde: new perspectives: Avantgarde, Avantgardekritik, Avantgardeforschung / edited by Dietrich Scheunemann. pp: 137-54. Amsterdam; Atlanta, GA: Rodopi, 2000. Avant garde critical studies; 15
Main Stack BH301.A94.E87 2000

Manvell, Roger
Experiment in the Film. [Essays. London] Grey Walls Press [1949].
UCB Main PN1993.5.A1 M35

Marchessault, Janine.
"Feminist Avant-Garde Cinema: From Introspection to Retrospection." In: Gendering the nation: Canadian women's cinema / edited by Kay Armatage. pp: 137-47. [et al.]. Toronto: University of Toronto Press, 1999.
UCB Main PN1995.9.W6 G42 1999

McCabe, Susan
Cinematic modernism : modernist poetry and film Cambridge, UK ; New York : Cambridge University Press, 2005.
MAIN: PS310.M65 M37 2005
Table of contents http://www.loc.gov/catdir/toc/cam051/2004046236.html

McCarthy, Kevin F.
From celluloid to cyberspace : the media arts and the changing arts world Santa Monica, CA : Rand, c2002.
MAIN: PN1995.9.E96 M38 2002

Mekas, Jonas
Movie Journal; The Rise of the New American Cinema, 1959-1971. New York, Macmillan [1972].
UCB Main PN1993.5.U6 M351
UCB Moffitt PN1993.5.U6 M35

Mellencamp, Patricia.
Indiscretions: Avant-garde Film, Video & Feminism / Patricia Mellencamp. Bloomington: Indiana University Press, c1990. Series title: Theories of contemporary culture v. 12.
UCB Main PN1995.9.E96 M45 1990
UCB Moffitt PN1995.9.E96 M45 1990

Minguet Batllori, Joan M.
Cinema, modernitat i avantguarda (1920-1936) Published: Valencia: E. Climent, 2000.
UCB MAIN: PN1993.5.S7 M54 2000

Mitry, Jean.
Le Cinema Experimental: Histoire et Perspectives / Jean Mitry. Paris: Seghers, [1974]. Series title: Cinema 2000.
NRLF $B 184 598
Force and fire / Mikita Brottman -- Myth and symbolism : Blue velvet / Carel Rowe -- The occult : A torch for Lucifer / Anna Powell -- Filmography/Chronology : The fire/Light trip.
Main Stack PN1998.3.A54 M66 2002

Mm2 : experimental film in the Netherlands since 1960
Editors Anna Abrahams [et al.] Amsterdam : Filmbank ; Uitgeverij de Balie, 2004.
Main Stack PN1995.9.E96 2004

New punk cinema
Edited by Nicholas Rombes. Edinburgh : Edinburgh University Press, c2005.
MAIN: PN1995.9.E96 N49 2005

New screen media : cinema/art/narrative
Edited by Martin Rieser, Andrea Zapp. London : BFI Pub., 2002. System requirements: Macintosh running System 8.5 or PC running Windows 95+/NT, 64 MB RAM.
Main Stack N6494.M78.N49 2002 Shelved: Circulation Desk
Contents: Punk cinema / Stacy Thompson -- Italian neo-realist influences / Jay McRoy -- The French new wave : new again / Timothy Dugdale -- Sincerity and irony / Nicholas Rombes -- DVD and the new cinema of complexity / Graeme Harper -- Digital technologies and the poetics of performance / Bruno Lessard -- Navigating chaos / Silvio Gaggi -- Non-linear narrative / Bruce Isaacs -- Making it real / Steven Rubio -- Dogma brothers : Lars von Trier and Thomas Vinterberg / Shohini Chaudhuri -- Mike Figgis : Time code and the screen / Constantine Verevis -- What was the neo-underground and what wasn't : a first reconsideration of Harmony Korine / Benjamin Halligan -- Repo man : reclaiming the spirit of punk with Alex Cox / Xavier Mendik.

Noguez, Dominique.
Eloge du Cinema Experimental: Definitions, Jalons, Perspectives / Dominique Noguez; [publie par le] Centre Georges Pompidou .... Paris: Centre Georges Pompidou, 1979.
NRLF B 3 177 424

Noguez, Dominique.
Une Renaissance du Cinema: Le Cinema "Underground" Americain: Histoire, Economie, Esthetique / Dominique Noguez. Paris: Klincksieck, 1985. Series title: Collection d'esthetique; 44.
UCB Main PN1995.9.E96 N63 1985

Noguez, Dominique.
Trente Ans de Cinema Experimental en France, 1950-1980 / Dominique Noguez. Paris: A.R.C.E.F., [1982].
UCB Main PN1995.9.E96 N62 1982

O'Pray, Michael.
Avant-garde film : forms, themes and passions London ; New York : Wallflower, 2003.
MAIN: PN1995.9.E96 O67 2003

O'Pray, Michael.
"'New Romanticism' and British Avant-Garde Film in the Early 80s." In: The British cinema book / edited by Robert Murphy. pp: 256-62.2nd ed. London : British Film Institute, 2001.
Main Stack PN1993.5.G7.B66 2001

O'Pray, Michael.
Avant-garde film : forms, themes and passions / <2003> London ; New York : Wallflower, 2003.
MAIN: PN1995.9.E96 O67 2003

O'Pray, Michael.
"Modernism, Phantasy and Avant-Garde Film Wallflower." In: The Undercut Reader: Critical Writings on Artist's Film and Video. Danino, Nina (ed. and introd.); Maziere, Michael. pp: 31-34. (ed. and introd.). Wallflower. London, England;
Main Stack PN1995.9.E96 U52 2003

Osterweil, Ara Cybele.
Flesh cinema : the corporeal avant-garde 1959-1979 / by Ara Cybele Osterweil. 2005.
Main (Gardner) Stacks (NRLF) 308t 2005 804

Penley, Constance
The future of an illusion : film, feminism, and psychoanalysis / Constance Penley. Minneapolis : University of Minnesota Press, c1989.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.W6 P461 1989
Moffitt PN1995.9.W6 P46 1989 c.11

Peterson, James
Dreams of Chaos, Visions of Order: Understanding the American Avante-garde Cinema / James Peterson. Detroit: Wayne State University Press, c1994. Series title: Contemporary film and television series.
UCB Main PN1995.9.E96 P48 1994
UCB Moffitt PN1995.9.E96 P48 1994

Peterson, James.
"Is a Cognitive Approach to the Avant-Garde Cinema Perverse?" In: Post-Theory: Reconstructing Film Studies / edited by David Bordwell and Noel Carroll. pp: 108-29. Madison: University of Wisconsin Press, c1996. Wisconsin studies in film
Main Stack PN1994.P6565 1996 Series title: Wisconsin Studies in Film.

Pidduck, Julianne
"New queer cinema and experimental video." In: New queer cinema : a critical reader / edited by Michele Aaron. New Brunswick, N.J. : Rutgers University Press, 2004.
Grad Svcs PN1995.9.H55.N48 2004
Main Stack PN1995.9.H55.N48 2004

Poetry and film
[New York] Gotham Book Mart, 1972.
BANC: \p PN1995 .P63;
MAIN: PN1995 .P631

Polan, Dana B.
The Political Language of Film and the Avant-garde / by Dana B. Polan. Ann Arbor, MI: UMI Research Press, c1985. Series title: Studies in cinema; no. 30.
UCB Main PN1995.9.P6 P65 1985

Practica Filmica y Vanguardia Artistica en Espana = The Avant-garde Film in Spain: 1925-1981
/ [coordinacion y catalogo, Eugeni Bonet y Manuel Palacio; traduccion, Tony Partearroyo]. [Madrid]: Universidad Complutense de Madrid, [1983?].
NRLF C 2 842 352

Rabinovitz, Lauren
"Experimental and avant-garde cinema in the 1940s." In: Boom and bust : the American cinema in the 1940s / Thomas Schatz. New York : Scribner, 1997.
Main Stack PN1993.5.U6.H55 1990 v.6

Rabinovitz, Lauren
Points of Resistance: Women, Power & Politics in the New York Avant-garde Cinema, 1943-71 / Lauren Rabinovitz. Urbana: University of Illinois Press, 2003.
UCB Main PN1995.9.E96 R34 1991
UCB Main PN1995.9.E96 R34 1991 [earlier edition]

Ramos, Fernao
Cinema Marginal, 1968-1973: A Representacao em seu Limite / Fernao Ramos. [Rio de Janeiro]: EMBRAFILME/Ministerio da Cultura; Sao Paulo-S: Editora Brasiliense, 1987.
UCB Main PN1993.5.B6 R251 1987

Recent work from the Canadian avant-Garde / edited by
Catherine Jonasson and Jim Sheddon; with assistance from Bart Testa. [Toronto]: Art Gallery of Ontario = Musee des beaux-arts de l'Ontario, c1988.
UCB Main PN1995.9.E96 R431 1988

Rees, A. L.
A History of Experimental Film and Video: From Canonical Avant-garde to Contemporary British Practice / A.L. Rees London: BFI Publishing, 1999
UCB Main PN1995.9.E96 R44 1999t

Renan, Sheldon
An Introduction to the American Underground Film. [1st ed.]. New York, Dutton, 1967.
UCB Main PN1995.9.E96 .R4
UCB Moffitt PN1995.9.E96 .R4

Rodowick, David.
"Politics, Theory and the Avant-Garde." In: The Undercut Reader: Critical Writings on Artist's Film and Video. Danino, Nina (ed. and introd.); Maziere, Michael. pp: 34-37. (ed. and introd.). Wallflower. London, England;
Main Stack PN1995.9.E96 U52 2003

Roman, Shari
Digital Babylon : Hollywood, Indiewood & Dogme 95 Los Angeles, CA : Lone Eagle Pub., 2001.
MAIN: PN1995.9.E96 R58 2001

Rosenbaum, Jonathan.
Film: The Front Line, 1983 / by Jonathan Rosenbaum. Denver, Colo.: Arden Press, 1983.
UCB Main PN1995.9.E96 R58 1983
UCB Moffitt PN1995.9.E96 R58 1983

Rowe, Carel.
The Baudelarian Cinema: A Trend Within the American Avant-garde / by Carel Rowe. Ann Arbor, Mich.: UMI Research Press, c1982. Series title: Studies in cinema; no. 8.
UCB Main PN1995.9.E96 .R6 1982

Russell, Catherine
Experimental ethnography: the work of film in the age of video Durham [N.C.]: Duke University Press, 1999.
MAIN: PN1995.9.D6 R79 1999

Sarlo Sabajanes, Beatriz.
La maquina cultural: maestras, traductores y vanguardistas Buenos Aires: Ariel, c1998.
MAIN: F2810 .S27 1998

Sargeant, Jack.
Naked Lens: [Beat Cinema / written, edited and compiled by Jack Sargeant]. London: Creation Books, 1997.
UCB Bancroft PN1995.9 .B43 1997
UCB Main PN1995.9 .B43 1997

Sargeant, Jack.
Naked lens: [an illustrated history of beat cinema London: Creation Books, c2001.
MAIN: PN1995.9.E96 S37 2001

Scheugl, Hans
Eine Subgeschichte des Films: Lexikon d. Avantgarde-, Experimental- u. Undergroundfilms / Hans Scheugl; Ernst Schmidt. 1. Aufl. Frankurt am Main: Suhrkamp, 1974. Series title: Edition Suhrkamp, 471.
UCB Main PN1995.9.E96 S28 v.1-2 (1974) AT NRLF: v. 1-2

Schlemmer, Gottfried.
Avantgardistischer Film 1951-1971, Theorie / hrsg. von Gottfried Schlemmer. Munchen, Hanser, 1973.
UCB Main PN1995.9.E96 S3 1973

Schwartz, David.
"Visions of New York: Films from the 1960s Underground." In: Underground U.S.A.: Filmmaking Beyond the Hollywood Canon. Mendik, Xavier (ed. and introd.); Schneider, Steven Jay (ed. and introd.); Kaufman, Lloyd (foreword).pp: 201-03
Main Stack PN1995.9.E96.U34 2002

Sitney, P. Adams.
Modernist Montage: The Obscurity of Vision in Cinema and Literature / P. Adams Sitney. New York: Columbia University Press, c1990.
UCB Main PN771 .S58 1990

Sitney, P. Adams.
Visionary film: the American avant-garde, 1943-2000 / P. Adams Sitney. 3rd ed. Oxford; New York: Oxford University Press, 2002.
Full text available online (UCB users only)
Main Stack PN1995.9.E96.S53 2002
UCB Main PN1995.9.E96 S53 1979 [earlier edition]
UCB Moffitt PN1995.9.E96 S53 1979 [earlier edition]

Sklar, Robert.
"The cinematic avant-garde." In: A world history of film New York : Harry N. Abrams, 2002.
Main Stack PN1993.5.A1.S555 2002

Skoller, Jeffrey.
Shadows, specters, shards : making history in avant-garde film Minneapolis : University of Minnesota Press, c2005.
Full text available online (UCB users only)
MAIN: PN1995.9.H5 S46 2005
PFA : PN1995.9.H5 S46 2005

Small, Edward S.
Direct Theory: Experimental Film/Video as Major Genre /Edward S. Small. Carbondale: Southern Illinois University Press, c1994.
UCB Main PN1995.9.E96 S62 1994
UCB Moffitt PN1995.9.E96 S62 1994

Smith, Murray.
"Modernism and the Avant-Gardes." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson; consultant editors, Richard Dyer, E. Ann Kaplan, Paul Willemen. pp: 395-412. Oxford; New York: Oxford University Press, 1998.
UCB Main PN1995 .O93 1998

Sterritt, David.
"Challenging the eye: three avant-garde imagemakers." In: Guiltless pleasures : a David Sterritt film reader. 1st ed. Jackson : University Press of Mississippi, c2005.
Main Stack PN1994.S816 2005
PFA PN1994.S816 2005
Table of contents http://www.loc.gov/catdir/toc/ecip055/2004029419.html

Sterritt, David.
Mad to be saved: the Beats, the '50s, and film / David Sterritt. Carbondale: Southern Illinois University Press, c1998.
UCB Main PS228.B6 S755 1998
UCB Moffitt PS228.B6 S755 1998Sterritt, David.

Structural Film Anthology
Edited and with an introduction by Peter Gidal. London: British Film Institute, 1976.
UCB Main PN1995.9 .E96S75

Suarez, Juan Antonio.
Bike Boys, Drag Queens & Superstars: Avant-garde, Mass Culture, and Gay Identities in the 1960s Underground Cinema / Juan A. Suarez. Bloomington: Indiana University Press, c1996.
Electronic version (UCB users only) at: http://www.netlibrary.com/summary.asp?id=626
UCB Main PN1995.9.E96 S82 1996
UCB Moffitt PN1995.9.E96 S82 1996

Theatre et Cinema Annees Vingt: Une Quete de la Modernite
collectif de travail, Claudine Amiard-Chevrel ... [et al.]; textes reunis et presentes par Claudine Amiard-Chevrel. [Lausanne]: Age d'homme, [1990]. Series title: Theatre annees vingt. Serie Etudes.
UCB Main PN2219.E96 T46 1990 t.1-2 ([1990])

Thompson, Kristin.
"Dr. Caligari at the Folies-Bergere: Or, The Successes of an Early Avant-Garde Film." In: The Cabinet of Dr. Caligari: Texts, Contexts, Histories. / edited by Mike Budd. pp: 121-69. New Brunswick: Rutgers University Press, c1990.
Main Stack PN1997.C183.C34 1990

Turim, Maureen Cheryn
Abstraction in Avant-garde Films / by Maureen Cheryn Turim. Ann Arbor, Mich.: UMI Research Press, c1985. Series title: Studies in cinema; no. 32.
UCB Main PN1995 .T79 1985

Tyler, Parker.
Underground Film; A Critical History. New York, Grove Press [1970, c1969].
UCB Grad Svcs PN1995.9 E96 T9 Circulating Collection
UCB Main PN1995.9 E96 T9

The Undercut reader : critical writings on artists' film and video
Edited by Nina Danino and Michael Maziere. London ; New York : Wallflower,
UCB Main PN1995.9.E96 U52 2003
PFA PN1995.9.E96.U52 2003

Walsh, Martin
The Brechtian aspect of radical cinema London: BFI Pub., 1981.
MAIN: PN1995.9.E96 .W3 1981
UNDE: PN1995.9.E96 .W3 1981

Wees, William C.
"The Ambiguous Aura of Hollywood Stars in Avant-Garde Found-Footage Films."Cinema Journal. 41(2):3-18. 2002

Wees, William C.
Light Moving in Time: Studies in the Visual Aesthetics of Avant-garde Film/ William C. Wees. Berkeley: University of California Press, c1992.
UCB Main PN1995.9.E96 W44 1992
UCB Moffitt PN1995.9.E96 W44 1992

Wilinsky, Barbara.
Sure seaters: the emergence of art house cinema Minneapolis: University of Minnesota Press, c2001.
MAIN: PN1993.5.U6 W496 2001

Williamson, Judith.
"Two Kinds of Otherness: Black Film and the Avant-Garde." In: Black British Cultural Studies: A Reader / edited by Houston A. Baker, Jr., Manthia Diawara, and Ruth H. Lindeborg. pp: 173-82. Chicago: University of Chicago Press, c1996. Black literature and culture.
Main Stack DA125.A1.B56 1996

Willis, Holly.
New digital cinema : reinventing the moving image Published: London : Wallflower Press, 2005.
MAIN: TK6680.5 .W55 2005
PFA : TK6680.5 .W55 2005

Wollen, Peter.
"Popular Culture and Avant-Garde."Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 7(1-2):102-104. 1985.

Women's experimental cinema : critical frameworks
Robin Blaetz, editor. Durham : Duke University Press, 2007.
MAIN: PN1995.9.E96 W68 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0713/2007009344.html

Women and experimental filmmaking
Edited by Jean Petrolle and Virginia Wright Wexman. Urbana : University of Illinois, c2005.
MAIN: PN1995.9.E96 W66 2005
PFA : PN1995.9.E96 W66 2005
Table of contents http://www.loc.gov/catdir/toc/ecip055/2004029712.html

Women's experimental cinema : critical frameworks
Robin Blaetz, editor. Durham : Duke University Press, 2007.
Main (Gardner) Stacks PN1995.9.E96 W68 2007
Pacific Film Archive PN1995.9.E96 W68 2007
Contents: Swing and sway: Marie Menken's filmic events / Melissa Ragona -- Different/same/both/neither: the polycentric cinema of Joyce Wieland / Paul Arthur -- Excavating visual fields, layering auditory frames: signature, translation, resonance, and Gunvor Nelson's films / Chris Holmlund -- Moving and moving: from minimalism to Lives of performers / Noël Carroll -- Eye/body: the cinematic paintings of Carolee Schneemann / M. M. Serra and Kathryn Ramey -- "Absently enchanted": the apocryphal, ecstatic cinema of Barbara Rubin / Ara Osterweil -- Amy Greenfield: film, dynamic movement, and transformation / Robert A. Haller -- Barbara Hammer: lyrics and history / Chuck Kleinhans -- Chick Strand's experimental ethnography / Maria Pramaggiore -- Amnesis time: the films of Marjorie Keller / Robin Blaetz -- In the ruins of the image: the works of Leslie Thornton / Mary Ann Doane -- Sounds, intervals, and startling images in the films of Abigail Child / Maureen Turim -- Peggy's playhouse: contesting the modernist paradigm / William C. Wees -- Su Friedrich: breaking the rules / Janet Cutler -- The experimental "dunyementary": a cinematic signature effect / Kathleen McHugh -- Women's experimental cinema: some pedagogical challenges / Scott MacDonald.

Youngblood, Gene
Expanded Cinema. Introd. by R. Buckminster Fuller. [1st ed.]. New York, Dutton, 1970.
UCB Moffitt PN1995.9.E96 Y6

Journal Articles

Abbott, Rebecca.
"The Avant-Garde in American Film: An Interview with Stan Brakhage." Sacred Heart University Review, vol. 9 no. 1. 1988 Fall. pp: 33-45.

Abel, Richard.
"American Film and the French Literary Avant-Garde (1914-1924)" Contemporary Literature, vol. 17. 1976. pp: 84-109.

Anderson, Steve.
"Seeing Is Believing: Unseen Cinema Unearths a New History of the Early American Avant-Garde."Independent Film & Video Monthly. 24(6):33-35. 2001 July

"Avant-garde film in England and Europe." Studio v 190 Nov 1975. p. 170-224

Bassan, Raphaël; Courant, Gérard; Lebrat, Christian; Noguez, Dominique.
"French experimental cinema: the richness of the 1970s." Studies in French Cinema, 2004, Vol. 4 Issue 3, p165-174, 10p
UC users only

Bay-Ching, Sarah.
"An Illogical Stab of Doubt": Avant-Garde Drama, Cinema, and Queerness." Studies in the Humanities, 2001, Vol. 28 Issue 1-2, p82-93, 12p

Bayma, Todd.
"Art World Culture and Institutional Choices: The Case of Experimental Film." Sociological Quarterly v36, n1 (Wntr, 1995):79 (17 pages).

Beattie, Keith
"The Cinema of (Coming) Attractions." Metro; Summer2007, Issue 151, p154-157, 4p
UC users only

Boruszkowski, Lilly Ann
"College course file: experimental film."Journal of Film and Video; Vol.XXXVII nr.4 (Fall 1985); p.53-62
Syllabus for a course on experimental film.

Camper, Fred.
"The End of Avant-Garde Film,"Millennium Film Journal, Nos.16/17/18 , pp.99-124

Cavendish, Philip
"The Men With the Movie Cameras: The Theory and Practice of Camera Operation Within the Soviet Avant-Garde of the 1920s." Slavonic & East European Review; Oct2007, Vol. 85 Issue 4, p684-723, 40p P>
Christie, Ian.
"Histories of the future: mapping the avant-garde." Film History; 2008, Vol. 20 Issue 1, p6-13, 8p, 6 bw
UC users only
Discusses different viewpoints that have defined 20th-century avant-garde films. Avant-garde filmmakers have seen the genre as the creation of filmmakers who do predominantly avant-garde films, those who have made avant-garde films but work in mainstream cinema, and artists better known for work outside the genre.

Cornwell, Regina
"Some formalist tendencies in the current American avant-garde film." Studio v 184 Oct 1972. p. 110-14

Curtis, David
"English avant-garde film: an early chronology." Studio v 190 Nov 1975. p. 176-82

Debo, Annette.
"Interracial Modernism in Avant-Garde Film: Paul Robeson and H. D. in the 1930 Borderline." Quarterly Review of Film & Video. 18(4):371-83. 2001 Oct

Decker, Christof
"Interrogations of Cinematic Norms: Avant-Garde Film, History, and Mnemonic Practices." Amerikastudien/American Studies ,vol. 43 no. 1 pp: 109-30 (1998)

Dixon, Wheeler W.
"Performativity in the 1960s American Experimental Cinema: The Body as Site of Ritual and Display." Film Criticism. 23(1):48-60. 1998 Fall.

Dobrotworsky, Sergei. Dobrotworsky, Ekaterina (tr.).
"The Most Avant-Garde of All Parallel Ones."New Orleans Review. 17(1):84-87. 1990 Spring.

Fullerton, John.
"Introduction: Experiment in Film Before World War II." Film History, 2008, Vol. 20 Issue 1, p3-5, 3p
UC users only
The article presents an introduction to this issue of "Film History," which focuses on experimental films made before World War II. The article discusses the history of avant-garde film, British cinema, and James Sibley Watson's avant-garde industrial films. Other articles in the issue consider innovation, experimentation and creativity in motion pictures.

Fullerton, John.
"Introduction: Experiment in Film Before World War II." Film History, 2008, Vol. 20 Issue 1, p3-5, 3p
UC users only

Galt, Rosalind.
"Impossible Narratives: The Barcelona School And The European Avant-Gardes." Hispanic Review, Autumn2010, Vol. 78 Issue 4, p491-511,
UC users only

Gidal, Peter.
"Avant-Garde: The Anti-Narrative (1978)." Screen 1979 20: 73-93
UC users only

Gunning, Tom.
"The Cinema of Attraction: Early Film, Its Spectator and the Avant-Garde." Wide Angle, vol. 8 no. 3-4. 1986. pp: 63-70.

Hanhardt, John G.
"Film image/electronic image: the construction of abstraction, 1960-1990." Visible Language v 29 no2 [1995]. p. 138-59
"John Hanhardt interrogates the interrelation between video art and the history of abstraction during our century. His thesis is that a specific body of film and video works has explored the issue of abstraction as a means to define their respective media. This has been done, Hanhardt points out, "by choosing the basic temporality of the moving image and the material basis of the image itself as sires for an epistemological inquiry into the viewing experience, thus exploring the perceptual transaction between spectator and text." Whereas critics like Kuspit and Jameson have seen video as marking an epistemic break with modernism, Hanhardt shows some of the fundamental interconnections between video art and the history of avant-garde abstractionism, for example, as reflected in the work of experimental film-makers like Stan Brakhage." [Art Index]

Hatfield, J.
"Expanded Cinema and Its Relationship to the Avant-Garde: Some Reasons for a Review of the Avant-Garde Debates Around Narrativity."Millennium Film Journal no. 39/40 (Winter 2003) p. 50-65
UC users only

Hergueta, Aurora Galán.
"Cinema and the Avant-Garde." Revista de EGA, 2007, Issue 12, p239-243, 5p
UC users only
The article discusses the close relationship that existed between cinema and the avant-garde and vice-versa. Avant-garde artists, such as painters, made films or wrote about cinema, while a large number of vanguard directors and film critics were previously well known authors. Most of the avant-garde artists in pre-war Europe, regularly went to the cinema to watch movies.

Hoberman, J.
"How to read an avant-garde film." American Film v 6 Jan/Feb 1981. p. 56-8

Hoberman, J.
"Three myths of avant-garde film." Film Comment v 17 May/June 1981. p. 34-5

Hooton, Fiona.
"It Droppeth as the Gentle Rain: The Birth of Australian Experimental Film." Metro, Dec2008, Issue 159, p138-141, 4p
UC users only

Horak, Jan Christopher
"Discovering pure cinema: avant-garde film in the '20s." Afterimage v 8 Summer 1980. p. 4

Horak, Jan Christopher
"Discovering pure cinema: avant-garde film in the '80." Afterimage v 8 Summer 1980. p. 4-7

Hubbard, J.
"Introduction: A Short, Personal History of Lesbian and Gay Experimental Cinema." Millennium Film Journal no. 41 (Fall 2003) p. 5-12
UC users only

James, David E.
"Soul of the Cypress: The First Postmodernist Film?"Film Quarterly. 56(3):25-31. 2003 Spring

James, David E.
"Hollywood Extras: One Tradition of 'Avant-Garde' Film in Los Angeles."October. 90:3-24. 1999 Fall.

Joyard, Olivier; Blouin, Patrice; Assayas, Olivier
"New York Underground."Cahiers du Cinéma nr 558 (June 2001); p 66-77
On the American experimental cinema in the 1960's and 1970's. Incl. short reviews of films by Stan Brakhage, Jonas Mekas, Jack Smith and Andy Warhol. Also incl. interview with Gerard Malanga, assistant of Andy Warhol.

Kluszczynski, Ryszard W.
"Re-Writing the History of Media Art: From Personal Cinema to Artistic Collaboration." Leonardo v. 40 no. 5 (2007) p. 469-74
"The writer presents his reinterpretation of the artistic phenomena that composed historical avant-garde art. He uses a method of interpretation that approaches the historical artifacts, such as structural film and collective work, through recent phenomena. He proposes three steps in the evolution of the 20th-century concept of joint creative work: avant-garde general strategies of artistic collaboration, avant-garde film works oriented toward creative collectivism, and collaborative artistic practices that manifest themselves in nonhierarchical strategies of contemporary interactive art." [Art Index]

Lehman, Peter.
"For Whom Does the Light Shine? Thoughts on the Avant-Garde."Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 7(1-2):68-73. 1985.

Lehman, Peter.
"Politics, History and the Avant-Garde: An Interview with Peter Gidal." Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 5(2):72-77. 1982.

MacDonald, Scott
"Avant-Doc: Eight Intersections." Film Quarterly Dec 2010, Vol. 64, No. 2: 50–57.
UC users only

MacDonald, Scott
"Avant-Garde Film: Cinema as Discourse." Journal of Film & Video, Spring88, Vol. 40 Issue 2, p33-42, 10p

Macdonald, Scott.
"The Garden in the Machine: Two American Avant-garde Films and the Nineteenth Century Visual Arts. Prospects v22 (Annual, 1997):239 (24 pages).

MacDonald, Scott.
"North American avant-garde film: a personal review." Afterimage v 11 Feb 1984. p. 12-13

MacDonald, Scott.
"Poetry and Avant-Garde Film: Three Recent Contributions." Poetics Today, Spring2007, Vol. 28 Issue 1, p1-41, 41p
UC users only

Martin, A.
"Lessons of noise and silence: avant-garde cinema and experimental music in Australia." Studies in Australasian Cinema v. 1 no. 2 (2007) p. 223-34
UC users only
"The writer analyzes the use of music and sound in Australian experimental cinema from the 1960s to the present. The writer distinguishes six aesthetic categories: film as backdrop to live music, live music as backdrop to film, prerecorded music as a "bed" for images, images as a "bed" for prerecorded music, disjunction between image and sound, and image-sound fusion. He addresses a debate over the effects of musical rhythm in cinema." [Art Index]

Mellencamp, Patricia.
"Receivable Texts: U. S. Avant-Garde Cinema 1960-1980." Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 7(1-2):74-91. 1985.

Metz, Christian.
"Third Degree Cinema?"Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 7(1-2):30-32. 1985.

Mueller, Roswitha (ed.)
"German Avant-Garde Cinema: The Seventies," Discourse: Journal for Theoretical Studies in Media and Culture vol. 6. 1983 Fall.

Nadal-Melsió, Sara.
"The Invisible Tradition: Avant-Garde Catalan Cinema Under Late Francoism." Hispanic Review, Autumn2010, Vol. 78 Issue 4, p465-468, 4p
UC users only

Nichols, Bill.
"Documentary Film and the Modernist Avant-Garde." Critical Inquiry. 27(4):580-610. 2001 Summer
UC users only

Norden, Martin F.
"The Avant-Garde Cinema of the 1920s: Connections to Futurism, Precisionism, and Suprematism." Leonardo, Vol. 17, No. 2. (1984), pp. 108-112.
UC users only
Three of Cubism's derivatives--Futurism, Precisionism, Suprematism--played important roles in shaping the avant-garde cinema of the 1920s. Overshadowed by Dada and Surrealism, however, these Cubistrooted movements have rarely been discussed from this perspective. In this article, the varied, modernistic qualities and concerns of Futurism, Precisionism and Suprematism are discussed and their likely influences on the development of the avant-garde cinema are examined.

Penley, Constance.
"The avant-garde and its imaginary." Camera Obscura; 1978, Vol. 2, p3, 31p

Pierson, Michele
"Avant-Garde Re-Enactment: World Mirror Cinema, Decasia, and The Heart of the World." Cinema Journal; Fall2009, Vol. 49 Issue 1, p1-19, 19p
UC users only
"This essay looks at how a number of avant-garde films that work with cinematic images of the past involve spectators in the imaginative creation of historical worlds. These films are re-enactments, not in the sense of offering re-creations of specific historical events, but in the sense of involving spectators in an experience that offers them a feeling for the past." [Author abstract/EBSCO]

Pierson, Michele
"Amateurism and Experiment: The British Film Institute's Experimental Film Fund (1952-1966)." The Moving Image 5.1 (2005) 68-94
UC users only

Polan, Dana B.
"Discourses of Rationality and the Rationality of Discourse in Avant-Garde Political Film Culture." Wide Angle, vol. 6 no. 2. 1984. pp: 12-17.

Schober, Anna.
"Irony, Montage, Alienation: Political Tactics and the Invention Of an Avant-Garde Tradition. Afterimage, Jan/Feb2010, Vol. 37 Issue 4, p15-19, 5p
UC users only
An essay is presented on political tactics and the invention of an avant-garde tradition. Neo-avant-garde representations have strongly re-emerged in the political arena since the 1990s. The process of establishing an avant-garde aesthetic lineage shows important features definitive of traditions, including invented ones. The causal relationship between the form of an aesthetic intervention and its political effects became the target of a deconstructive critique that was formed in the 1970s.

Sitney, P. Adams.
"Image and Title in Avant-Garde Cinema." October, Vol. 11, Essays in Honor of Jay Leyda. (Winter, 1979), pp. 97-112.
UC users only

Stoneman, Rod
"Independent Cinema: Film-Related Practice and the Avant-Garde." Screen 1979 20: 40-57
UC users only

Suárez, Juan A.
"Structural Film: Noise." In: Still moving : between cinema and photography / Karen Beckman and Jean Ma, eds. Durham : Duke University Press, 2008.
Main (Gardner) Stacks PN1995 .S728 2008

Tafler, David I.
"When analog cinema becomes digital memory." Wide Angle v 21 no1 1999. p. 180-204
"Part of a special issue on the relation of digital media to the memory of cinema. A number of film and video artists have probed the terrain bridging early- and late-20th-century techno-social transitions. The move to digital media marks a site of convergence for so-called experimental/avant-garde film and video. As both film and tape become technical anachronisms, their memory and legacy open the door for a second reading, and the positioning of the viewer becomes significant as changing operation systems structure inscribed memories differently in the retrieval and fabrication of memorable events. For example, media artist Peter D'Agostino's cybernetic installation VR/RV: a Recreational Vehicle in Virtual Reality examines the video-to-virtual reality genesis and the geography of representation inscribed by this transition. Filmmaker Ken Jacobs's analytical study of an old short film titled Tom, Tom, the Piper's Son reinvents the cinema, revisiting its origins and probing the boundary between fascination and meaning." [Art Index]

Tartaglia, J.
"The gay sensibility in American avant garde film." Millennium; nr.4-5 (Summer-Fall 1979); p.53-58
Examination of the theme of homosexuality as it appears, however infrequently, in avant-garde film

Thompson, Felix
"Avant-Garde: Notes on Reading of Avant-Garde Films." Screen 1979 20: 101-112
UC users only

Turvey, Malcolm. Jacobs, Ken. Michelson, Annette. Arthur, Paul. Frye, Brian. Iles, Chrissie.
"Round Table: Obsolescence and American Avant-Garde Film."October. 100((Special Issue)):115-32. 2002 Spring
UC users only
Interviews filmmakers Ken Jacobs, Brian Frye, Chrissie Iles, and critic Paul Arthur on the state of avant-garde cinema films in the U.S. as of March 2002. Changes undergone by the avant-garde cinema films; Reason for the reluctance of filmmakers in exploring the properties of cinema; Factors to which the work of artists using cinematic imagery depend on.

Varela, W.
"We Will Not Go Quietly: Some Thoughts on the Avant-Garde, Then and Now." Journal of Film and Video v. 57 no. 1/2 (Spring/Summer 2005) p. 3-8
UC users only
Personal reflections on the state of avant-garde filmmaking by Willie Varela, an artist and assistant professor of film studies in the Department of Theatre Arts and Film at the University of Texas at El Paso. A tribute to the late filmmaker Stan Brakhage, who died on March 9, 2003, accompanies the article.

Walley, Jonathan.
"The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film."October. 103:15-30. 2003 Winter
UC users only

Wees, William C.
"Carrying On: Leslie Thornton, Su Friedrich, Abigail Child and American Avant-Garde Film of the Eighties." Canadian Journal of Film Studies/Revue Canadienne D'Etudes Cinematographiques. 10 (1): 70-95. 2001 Spring.

Weiss, Allen S.
"Some Notes on Conjuring Away Art: Radical Disruptions of Image and Text in Avant-Garde Film."Esprit Createur vol. 38 no. 4 pp: 82-93 (1998 Winter)

Windhausen, Federico.
"Historiographic Returns: Reviewing British Avant-Garde Film of the 1970s." Grey Room, Winter2008, Issue 30, p114-128, 15p
UC users only

Zimmermann, Patricia R.
"Reconstructing Vertov: Soviet Film Theory and American Radical Documentary." (Soviet documentary filmmaker Dziga Vertov) Journal of Film and Video v44, n1&2 (Spring-Summer, 1992):80 (11 pages).

Works about Individual Filmmakers

Vito Acconci

"Artists' Films: The Body as Site
J. Wallace; J. Miller. Italy 1991. Flash Art (International Edition) no161 (Nov./Dec. '91) p. 96-9.

Auslander, Philip.
"Vito Acconci and the Politics of the Body in Postmodern Performance." After the Future: Postmodern Times and Places./ edited by Gary Shapiro. pp: 185-195 Albany: State University of New York Press, c1990. Contemporary studies in philosophy and literature; 2
Main Stack PN98.P64.A38 1990

Boxer, Sarah
"Poet turned antic architect keeps exploring inner space." (profile of Vito Acconci)(The Arts) . The New York Times Sept 12, 2002 s0 pF1(N) pE1(L) col 1 (35 col in)

Cruz, Juan.
"Vito Acconci's Home Movies."Art Monthly no210 (Oct. '97) p. 49.

Illuminating Video: An Essential Guide to Video Art / Vito Acconci ... [et al.]
Edited by Doug Hall and Sally Jo Fifer. New York: Aperture in assocation with the Bay Area Video Coalition, c1990.
Main Stack N6494.V53.I4 1990
Art/Classics N6494.V53.I4 1990

Linker, Kate.
Vito Acconci / Kate Linker. New York: Rizzoli, 1994.
Main Stack NX512.A24.L56 1994
Moffitt NX512.A24.L56 1994

Marino, Melanie
"Body As Place: Vito Acconci's gaze." PAJ: A Journal of Performance and Art Jan 1999 v21 i1 p63(12)

Rian, Jeff.
" Vito Acconci: I Never Wanted to be Political; I Wanted the Work to be Politics." (Interview)Flash Art (International Edition) no174 (Jan./Feb. '94) p. 84-7.

Taylor, Paul.
"Self and Theatricality: Samuel Beckett and Vito Acconci."The Review of Contemporary Fiction. 7 (2): 141-150. 1987 Summer.

VIDEORECORDING

Willoughby Sharp videoviews Vito Acconci.
New York, N.Y.: Electronic Arts Intermix, inc., c1973. 1 videocassette (62 min.) : sd., b&w ; 1/2 in. VHS.
UCB Media Ctr VIDEO/C 5240

Chantal Akerman

See separate bibliography

Peggy Ahwesh

Arthur, Paul
"Bodies, language, and the impeachment of vision: American avant-garde film at fifty." Persistence of Vision nr 11 (1995); p 5-32
On 50 years of individual and institutional achievement in the US avant-garde; discusses exhibition, distribution and various conceptual approaches incl. structuralism, found footage and history, language and image, and the body in films. Highlights the work of Peggy Ahwesh, Ken Jacobs, Morgan Fisher, Sharon Sandusky, Owen Land and others.

Lehrer, Jeremy
"Peggy Ahwesh: The Vision Machine." Independent Film and Video Monthly, vol. 22, no. 2, pp. 14-15, March 1999.

MacDonald, Scott
"Peggy Ahwesh." In: A critical cinema 5 : interviews with independent filmmakers / Scott MacDonald. Berkeley, Calif. ; London : University of California Press, 2006.
Full text available online (UCB users only)
Pacific Film Archive PN1995.9.E96 M3433 2006

MacDonald, Scott
"Peggy Ahwesh."Millennium Film Journal nr 39-40 (2003); p 1-30
"In a wide-ranging interview, filmmaker Peggy Ahwesh discusses her life work. Topics addressed include her Pittsburgh background; her work on George Romero films; her work with the experimental Pittsburgh Filmmakers group; her Pittsburgh Trilogy films of 1983, Verite Opera, Paranormal Intelligence, and Nostalgia for Paradise; her films Martina's Playhouse (1989) and The Deadman (1990); and more recent work such as She Puppet (2001)" [Art Index]

Russell, Catherine.
"Culture as Fiction: The Ethnographic Impulse in the Films of Peggy Ahwesh, Su Friedrich, and Leslie Thornton." In: The New American Cinema / edited by Jon Lewis. pp: 353-78. Durham, N.C.: Duke University Press, 1998.
UCB Main PN1993.5.U6 N47 1998

Smith, Gavin
"Color of Love."Film Comment v. 31 (July/August 1995) p. 18

"Peggy Ahwesh's ten-minute film The Color of Love was one of the highlights at this year's San Francisco Film Festival and Whitney Biennial. The film resurrects a piece of found footage from a hardcore porn movie that was discovered in an advanced state of chromatic deterioration. The lurid poetics of film decomposition somehow transform the tawdry footage, evoking the possibility for passion, desire, and reverie absent from the empty transaction of the skin flick." [Art Index]

Smith, Gavin
"The way of all flesh."Film Comment Vol XXXI nr 4 (July-Aug 1995); p 18

Wees, William C.
"Peggy's playhouse: contesting the modernist paradigm." In: B>Women's experimental cinema : critical frameworks Robin Blaetz, editor. Durham : Duke University Press, 2007.
MAIN: PN1995.9.E96 W68 2007
PFA: PN1995.9.E96 W68 2007

Kenneth Anger

See Gay/Lesbian bibliography

Martin Arnold

MacDonald, Scott .
"Sp...Sp...Spaces of Inscription: An Interview with Martin Arnold."Film Quarterly, vol.48, no. 1 (Fall 1994), 2-11
UC users only
Experimental film director Arnold dissects existing film footage and alters the flow of the film to point out the socio-economic meanings. He talks about his films 'Piece Touche,' which uses visual effects to explore gender manipulation and 'Passage a l'acte,' which features sound disruption.

Peter Tscherkassky.
"The Analogies of the Avant-Garde." In: Cecelia Hausheer and Christoph Settele, eds. Found Footage Film. Lucern: VIPER/zyklop, 1992.
[not at UCB]

Craig Baldwin

Bruyn, Dirk de.
"An Evening on Baldwin's Mountain."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 13:(no pagination). 2001 Apr-May

Carley, Christopher
"Talk About a Combustible Mix." Cineaste; Winter2008, Vol. 34 Issue 1, p20-24, 5p
UC users only
The article presents an interview with film director Craig Baldwin, whose latest project is called "Mock Up on Mu." Topics discussed include Baldwin's style, which is classified as collage narrative, his status as a film archivist with thousands of films, and his appreciation of educational and industrial films.

Cox, David.
"Media Meltdown."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 13:(no pagination). 2001 Apr-May

Sargeant, Jack.
"No Text/No Truth/Jouissance and Revolution: An Interview with Craig Baldwin."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 13:(no pagination). 2001 Apr-May

Sadie Benning

See Gay/Lesbian bibliography

Stan Brakhage

Abbott, Rebecca.
"The Avant-Garde in American Film: An Interview with Stan Brakhage." Sacred Heart University Review, vol. 9 no. 1. 1988 Fall. pp: 33-45.

Anker, Steve
"Brakhage Reminiscences." Millennium Film Journal. New York: Fall 2003. p. 85 (2 pages)
UC users only

Arthur, Paul.
"The god of day had gone down upon him." Film Comment Vol XXXVI nr 3 (May-June 2000); p 72
UC users only

Arthur, Paul.
"Qualities of Light: Stan Brakhage and the Continuing Pursuit." Film Comment v31, n5 (Sept-Oct, 1995):68 (8 pages).
"In his 40 years as a filmmaker, Brakhage has made over 270 films and opened doors for avant-garde cinema. A continuing theme in his work is cyclical imagery, structure and symbolism. Several of his films, including 'Murder Psalm,' 'Dog Star Man' and 'A Child's Garden and the Serious Sea' are examined." [Expanded Academic Index]

Barr, W.R.
" Artistic development in two childbirth films." Film Quarterly Vol XXIX nr 3 (Spring 1976); p 30-34
Analyzes two of Stan Brakhage's new films dealing with childbirth.

Barrett, Gerald R.
Stan Brakhage: A Guide to References and Resources / Gerald R. Barrett, Wendy Brabner. Boston : G.K. Hall, c1983.
Main Stack PN1998.A3.B623 1983
Moffitt PN1998.A3.B623 1983)

Brabner, Wendy.
"'The Act of Seeing with One's Own Eyes': Stan Brakhage and Robert Creeley." Library Chronicle of the University of Texas, vol. 17. 1981. pp: 84-103.

"Brakhage at the Millennium: The Words of Stan Brakhage." Millennium Film Journal, Fall2007/Winter2008 Issue 47-49,

Brakhage, Marilyn
"Rhythms Of Vision In Stan Brakhage's City Streaming." Canadian Journal of Film Studies. Spring 2005. Vol. 14, Iss. 1; pg. 5, 7 pgs
UC users only

Brakhage, Stan.
Brakhage Scrapbook: Collected Writings, 1964-1980. Edited by Robert A. Haller. New Paltz, NY : Documentext, c1982.
UCB Main PN1995 .B715 1982
UCB Moffitt PN1995 .B715 1982

Brakhage, Stan.
Film at Wit's End: Eight Avant-Garde Filmmakers. 1st ed. Kingston, N.Y.: Documentext, c1989.
UCB Main PN1995.9.E96 B741 1989
UCB Moffitt PN1995.9.E96 B74 1989

Brakhage, Stan.
"Another way of looking at the universe" (1997)." Chicago Review Winter 2001 v47 i4 p38(4) (1333 words)
UC users only

Brakhage, Stan.
"Brakhage Meets Tarkovsky." Chicago Review Winter 2001 v47 i4 p38(4) (1333 words)
UC users only

Brakhage, Stan.
"Fausts." Millennium Film Journal; Fall2007/Winter2008 Issue 47-49, p26-43, 18p

Brakhage, Stan.
"Fearful Symmetry." Millennium Film Journal; Fall2007/Winter2008 Issue 107-116, p47-9

Brakhage, Stan.
"Geometric versus Meat-ineffable (1994)." Chicago Review Winter 2001 v47 i4 p47(5) (1591 words)
UC users only

Brakhage, Stan.
"A Gift Has to Surprise." Millennium Film Journal, Fall2007/Winter2008 Issue 47-49, p46-63,

Brakhage, Stan.
"Having Declared a Belief in God...(1995)." Chicago Review. Winter 2001. Vol. 47/48, Iss. 4/1; p. 51 (9 pages)
UC users only

Brakhage, Stan.
"How They Were Loving I Think Everything Should Be Seen." Millennium Film Journal; Fall2007/Winter2008 Issue 47-49, p4-25, 22p

Brakhage, Stan.
"I Did Not Want to Photograph My Life Anymore." Millennium Film Journal; Fall2007/Winter2008 Issue 47-49, p26-43, 18p

Brakhage, Stan.
"In Consideration of Aesthetics (1996)." Chicago Review. Winter 2001. Vol. 47/48, Iss. 4/1; pg. 56, 6 pgs
UC users only

Brakhage, Stan.
"The Independent Filmmaker." In: Filmmakers on filmmaking : the American Film Institute seminars on motion pictures and television / edited by Joseph McBride 1st ed Los Angeles : J.P. Tarcher ; Boston : Distributed by Houghton Mifflin Co., c1983
Main Stack PN1995.9.P7.F5 1983 Library has: V.1-2 (C1983)
Moffitt PN1995.9.P7.F5 1983 Library has: v.2

Brakhage, Stan.
"The Lost Films (1996)." Chicago Review. 47-48 (4-1): 64-68. 2001 Winter-2002 Spring.
UC users only

Brakhage, Stan.
Metaphors on Vision. Edited with an introduction by P. Adams edited with an introd. by P. Adams Sitney; book design by George Maciunas. 2d ed. [s.l.: s.n.], c1976.
UCB Moffitt PN1998.A3 B6 1976
UCB Main PN1998.A3 B61 1963 (another edition)

Brakhage, Stan.
"Mortality." Millennium Film Journal; Fall2007/Winter2008 Issue 47-49, p144-154

Brakhage, Stan.
"OJ Simpson and the Democracy of the Whole Organism.." Millennium Film Journal; Fall2007/Winter2008 Issue 47-49, p129-40

Brakhage, Stan.
"Painting Film (1996)." Chicago Review. Winter 2001. Vol. 47/48, Iss. 4/1; pg. 61, 7 pgs
UC users only

Brakhage, Stan.
"Some Arguments." Millennium Film Journal, Fall2007/Winter2008 Issue 46-63

Brakhage, Stan.
"We Are All Burning." Millennium Film Journal; Fall2007/Winter2008 Issue 47-49, p26-43, 18p

Brakhage, Stan, and Dorn, Jennifer.
"Brakhage meets Tarkovsky." Chicago Review 47.4 (Winter 2001): 42(5).
UC users only

Brakhage, Stan, and Johnson, Ronald.
""Another way of looking at the universe" (1997)." Chicago Review. Winter 2001. Vol. 47/48, Iss. 4/1; p. 31 (10 pages)
UC users only

Brakhage S; Mekas J; Michelson A.
"Stan Brakhage,At Millennium." Millennium Film Journal, N16-1; 1987; 297

Camhi, G.
"Notes on Brakhage's '23rd psalm branch.'" Film Culture nr 67-69 (1979); p 97-129
An analysis of the film and text of lecture by S.B. on it.

Camper, Fred
"Brakhage's Contradictions."Chicago Review 47.4 (Winter 2001): 42(5).
UC users only

Camper, Fred
"Sexual Meditation 1: Motel, a film by Stan Brakhage."Film Culture nr 53-54-55 (Spring 1972); p 101-104

Camper, Fred
"Brakhage Contradictions."Chicago Review 26: (no pagination). 2003 May-June.
UCB users only

Camper, Fred
"Stan Brakhage: A Short Introduction."Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 26: (no pagination). 2003 May-June.

Cohen, Phoebe.
"Brakhage's Sincerity III." Millennium Film Journal, Summer/Fall1979 Issue 4/5, p153-156, 4p,

Curnutte, Rick.
"Total Immersion: The Films Videos of Re:Voir/USA, Part One."Film Journal. 1 (5): (no pagination). 2003.

Davenport, Guy.
"Brakhage's Songs (1966)."Chicago Review. 47-48 (4-1): 157-63. 2001 Winter-2002 Spring.
UC users only

Dorsky, Nathaniel.
"Stan Brakhage: Four Silent Nights."Chicago Review. 47-48 (4-1): 192. 2001 Winter-2002 Spring.
UC users only

Elder, Bruce (R. Bruce)
"'Moving Visual Thinking': Dante, Brakhage, and the Works of Energeia." In: Dante & the unorthodox : the aesthetics of transgression / edited by James Miller. Waterloo, Ont. : Wilfrid Laurier University Press, 2005.
Main Stack PQ4416.D354 2005

Elder, Bruce (R. Bruce)
"The Body as the Universe in Stan Brakhage's Early Films." In: Body of vision : representations of the body in recent film and poetry / R. Bruce Elder. Waterloo, Ont. : Wilfrid Laurier University Press, c1997.
Full text available online (UCB users only
Main (Gardner) Stacks PN1995.9.B62 E43 1997
Pacific Film Archive PN1995.9.B62 E43 1997

Elder, R. Bruce
"Goethe's Faust, Gertrude Stein's Doctor Faustus Lights The Lights, and Stan Brakhage's Faust Series." Canadian Journal of Film Studies. Spring 2005. Vol. 14, Iss. 1; p. 51 (18 pages)
UC users only

Elder, Kathryn
"Stan Brakhage: A "Quiller" Man." Millennium Film Journal no. 41 (Fall 2003) p. 89-90

Friedberg, Anne.
"Misconception = the "Division of Labor" in the Childbirth Film." Millennium Film Journal, Summer/Fall1979 Issue 4/5, p64-70, 7p

Friedrich, Su
"Radical Form: Radical Content." Millennium Film Journal; Winter1989/Spring1990 Issue 22, p117-123, 7p, 3 bw
An essay is presented which explores the word radical in relation to the lesbian and gay experimental films. It highlights the case of filmmaker Stan Brakhage in which his use of radical medium in making film shows things which are fairly mundane or familiar. It also discusses the process of making the film "The Ties That Bind," by Su Friedrich.

Frye, Brian.
"Stan Brakhage" (Great Directors: A Critical Database) Senses of Cinema

Gangulu, Suranjan.
"All That is Light: Brakhage at 60."(Interview)Sight and Sound v3, n10 (Oct, 1993):20 (4 pages).
"Film-maker Stan Brakhage who will be 60 years old in Jan 1994 was one of the main pioneers of the US avant-garde film industry. Brakhage has made about 250 films and has won many awards. Some of his films on abstract expressionism are handpainted. The Library of Congress has included his film "Dog Star Man," made in between 1962-64 in its National Film Registry. Brakhage has been lecturing on film history and aesthetics at the School of Art Institute at Chicago, US since 1981. He lives with his second wife Marilyn at Boulder. He was born in Kansas City, Missouri." [Expanded Academic Index]

Gangulu, Suranjan.
"Stan Brakhage - the 60th birthday interview."Film Culture nr 78 (Summer 1994); p 18-38
Avant-garde filmmaker S.B. discusses the themes of family and childhood in his work; painting on film, sound and music on film; the impact of the 1960's on filmmaking; the influence of avant-garde film on Hollywood filmmaking; and video as an art form.

Grauer, Victor A.
"Brakhage and the Theory of Montage." Millennium Film Journal, Fall1998 Issue 32/33, p105-129, 25p
UC users only

Hanhardt, John G.
"Film image/electronic image: the construction of abstraction, 1960-1990." Visible Language v 29 no2 [1995]. p. 138-59
"John Hanhardt interrogates the interrelation between video art and the history of abstraction during our century. His thesis is that a specific body of film and video works has explored the issue of abstraction as a means to define their respective media. This has been done, Hanhardt points out, "by choosing the basic temporality of the moving image and the material basis of the image itself as sires for an epistemological inquiry into the viewing experience, thus exploring the perceptual transaction between spectator and text." Whereas critics like Kuspit and Jameson have seen video as marking an epistemic break with modernism, Hanhardt shows some of the fundamental interconnections between video art and the history of avant-garde abstractionism, for example, as reflected in the work of experimental film-makers like Stan Brakhage." [Art Index]

Higgins G; Garcialopes R; Connick T; Brakhage S.
"Grisled Roots, An Interview With Stan Brakhage." Millennium Film Journal, Fall N26; 1992; 56-66

"Interview with Stan Brakhage." Millennium Film Journal, Fall2007/Winter2008 Issue 47-49, p161-178, 18p;

James, David E.
"Amateurs in the Industry Town: Stan Brakhage and Andy Warhol in Los Angeles." Grey Room, Summer2003 Issue 12, p80-93
UC users only

James, David E.
"The film-maker as The filmmaker as poet: Stan Brakhage." In: Film and authorship / edited and with an introduction by Virginia Wright Wexman. New Brunswick, N.J. : Rutgers University Press, c2003. Rutgers depth of field series.
Main Stack PN1995.9.A837.F55 2003

James, David E.
"The film-maker as romantic poet: Brakhage and Olson." Film Quarterly Vol XXXV nr 3 (Spring 1982); p 35-42
A thematic analysis which examines S.B.'s controversial independent films and compares them to the writings of Charles Olson.

James, David E.
"Stan Brakhage." In: Allegories of cinema : American film in the sixties / David E. James. Princeton, N.J. : Princeton University Press, c1989.
Main Stack PN1993.5.U6.J271 1989
Moffitt PN1993.5.U6.J27 1989

Jenkins, Bruce; Carroll, No?l
"'Text of light'" Film Culture nr 67-69 (1979); p 135-138
An analysis of the film.

Johnson, Ronald. Shedden, Jim.
[Stan Brakhage].Chicago Review. 47-48 (4-1): 31-37. 2001 Winter-2002 Spring.

Keller, Marjorie
"Stan Brakhage - A Guide To References And Resources."Quarterly Review Of Film, and Video V9; N4; 1984

Keller, Marjorie
The untutored eye : childhood in the films of Cocteau, Cornell, and Brakhage / Marjorie Keller. Rutherford, N.J. : Fairleigh Dickinson University Press ; London : Associated University Presses, c1986.
Main Stack PN1995.9.C4.K41 1986
Moffitt PN1995.9.C4.K4 1986

Kelly, Robert.
"Brakhage, Spoken In Memory, 17 March 2003." Millennium Film Journal. New York: Fall 2003. p. 80 (2 pages)
UC users only

Kelly, Robert.
"Notes on Brakhage."Chicago Review. 47-48 (4-1): 164-70. 2001 Winter-2002 Spring.
UC users only

Ken Kelman.
"Perspective Reperceived: Brakhage's Anticipation of the Night." In: The Essential Cinema: Essays on the Films in the Collection of Anthology Film Archives. / edited by P. Adams Sitney. New York: Anthology Film Archives and New York University Press, 1975.
Moffitt PN1993.E65

Kluszczynski, Ryszard W.
"Re-Writing the History of Media Art: From Personal Cinema to Artistic Collaboration." Leonardo v. 40 no. 5 (2007) p. 469-74
"The writer presents his reinterpretation of the artistic phenomena that composed historical avant-garde art. He uses a method of interpretation that approaches the historical artifacts, such as structural film and collective work, through recent phenomena. He proposes three steps in the evolution of the 20th-century concept of joint creative work: avant-garde general strategies of artistic collaboration, avant-garde film works oriented toward creative collectivism, and collaborative artistic practices that manifest themselves in nonhierarchical strategies of contemporary interactive art." [Art Index]

Levoff, D.H.
"Brakhage's The act of seeing with one's own eyes." (review) Film Culture nr 56-57 (Spring 1973); p 73-81

LoBrutto, V.
"Mythopoetic film: Dog star man." In: Becoming film literate : the art and craft of motion pictures / Vincent LoBrutto ; foreword by Jan Harlan. Westport, Conn. : Praeger, c2005.
Main Stack PN1994.L595 2005
Moffitt PN1994.L595 2005
PFA PN1994.L595 2005

MacDonald, Scott.
"The Filmmaker as Visionary: Excerpts from an Interview with Stan Brakhage." Film Quarterly. 56 (3): 2-11. 2003 Spring.
UC users only

MacDonald, Scott, ed.
"Nathaniel Dorsky and Larry Jordan on Stan Brakhage, Maya Deren, Joseph Cornell, and Bruce Conner." Quarterly Review of Film and Video v. 24 no. 1 (2007) p. 1-10
UC users only
"In an interview conducted by Nathaniel Dorsky, Larry Jordan reminisces about the early years of his longtime friend and colleague, the late influential filmmaker Stan Brakhage. Jordan discusses a range of topics, including Brakhage's interests when he was a high-school student in Denver, Colorado; his life when he returned to Denver after a semester at Dartmouth and made his film Interim; the films he made during his stay in San Francisco, California; his association with artists Maya Deren and Joseph Cornell in New York; and the strong scene he established in Colorado upon his return." [Art Index]

McClure, Michael. Anker, Steve.
"Realm Buster: Stan Brakhage." Chicago Review. 47-48 (4-1): 171-80. 2001 Winter-2002 Spring.
UC users only

Metz, Walter
"From Jean-Paul Belmondo to Stan Brakhage: romanticism and intertextuality in Irma Vep and Les Miserables." Film Criticism Fall 2002 v27 i1 p66(19) (6010 words)
UC users only
Argues that the source of Olivier Assayas's "Irma Vep" lies beyond its references to the films of Louis Feuillade and Fran?ois Truffaut, extending as far as the American avant-garde of Stan Brakhage.

Michelson, A.
"Stan Brakhage (1933-2003)." [Obituary]. October (Cambridge, Mass.) no. 108 (Spring 2004) p. 112-15

Nesthus, Marie.
"The 'Document' Correspondences of Stan Brakhage."Chicago Review. 47-48 (4-1): 133-56. 2001 Winter-2002 Spring.
UC users only

Nesthus, Marie.
"The influence of Olivier Messiaen on the visual art of Stan Brakhage in 'Scenes from under childhood', part one." Film Culture nr 63-64 (1977); p 39-50
On the nature of the influence of Messiaen's music on the visual imagery in Brakhage's film.

Powell, Anna.
"Stan Brakhage and the art of vision." In: Deleuze, altered states and film / Anna Powell. Edinburgh : Edinburgh University Press, c2007.
Main Stack B2430.D454.P69 2007

Prevallet, Kristin.
"Angels in the Apparatus."Chicago Review. 47-48 (4-1): 187-91. 2001 Winter-2002 Spring.
UC users only

Pruitt, John.
"Stan Brakhage and the Long Reach of Maya Deren's Poetics of Film."Chicago Review. 47-48 (4-1): 116-32. 2001 Winter-2002 Spring.
UC users only

Pruska-Oldenhof, Izabella.
"The Aesthetics of Menace: Stan Brakhage, Tom Thomson, And The Group Of Seven." Canadian Journal of Film Studies. Spring 2005. Vol. 14, Iss. 1; p. 26 (25 pages)
UC users only

Reeves, Jennifer.
"Argument for the Immediate Sensuous: Notes on Stately Mansions Did Decree and Coupling."Chicago Review. 47-48 (4-1): 193-98. 2001 Winter-2002 Spring.
UC users only

"Stan Brakhage Rememberances." Millennium Film Journal no. 41 (Fall 2003) p. 89-90

"Stan Brakhage To Robert Duncan & Jess Collins." Chicago Review, Winter2001/Spring2002, Vol. 47/48 Issue 4/1, p11, 14p
Presents correspondence from Stan Brakhage to Robert Duncan and Jess Collins. Appreciation for the friendship between the recipients; Context of 'The Wonder Ring' project; Effect of the letters sent by Jerome Rothenberg and Robert Creeley on the writings of Brakhage.

Sachs, L.
"Thoughts on Birth and Brakhage." Camera Obscura no. 64 (2007) p. 194-6
UC users only
"Part of a special section presenting an archive for the future of feminism, culture, and media. Lynne Sachs, a maker and teacher of avant-garde film, reflects on the impact of Stan Brakhage's short film Window Water Baby Moving (1962). Explaining that the film shows startling imagery of Brakhage's wife Jane's labor and at-home delivery of their first-born baby, she discusses the passionate, even vitriolic reaction that this film always creates in her classes, and asserts that it reveals to her an ever-evolving cultural fascination with birth and the body. She considers how her own work addresses similar issues about the representation of women in film and the relationship that exists between the camera and the body. For the Archive for the Future, she proposes a list of possible lecture topics one might give in conjunction with the screening of Brakhage's film, as a vehicle by which to ponder the last 40 years of American cultural history." [Art Index]

Serra, M. M.
"Flowers for Brakhage." Millennium Film Journal no. 41 (Fall 2003) p. 89-90

Sharrett, Christopher
"Brakhage's dreamscape."Millennium Film Journal nr 6 (Spring 1980); p 43-49

Sitney, P. Adams.
"Celluloid hero: P. Adams Sitney on Stan Brakhage." (Passages)(Obituary) P. Adams Sitney. Artforum International Sept 2003 v42 i1 p41(2) (1837 words)
"A tribute to filmmaker Stan Brakhage, who died on March 9, 2003, aged 70. Brakhage, who released up to 12 new works every year for 50 years without a break, virtually came up with and singularly dominated the characteristic genre of American avant-garde cinema: the crisis film, that lyric articulation of the filmmaker's mode and observations, following a rhythmical association of images without a predetermined scenario or enacted drama." [Art Index]

Sitney, P. Adams.
"Brakhage and modernism." In: Masterpieces of modernist cinema / edited by Ted Perry. Bloomington : Indiana University Press, c2006.
Main Stack PN1994.M365 2006

Sitney, P. Adams.
"Tales of the Tribes."Chicago Review. 47-48 (4-1): 97-115. 2001 Winter-2002 Spring.
UC users only

Solomon, Phil
"A Remembrance for Stan Brakhage." Millennium Film Journal no. 41 (Fall 2003) p. 89-90

"Stan Brakhage: Correspondences." Chicago Review. Winter 2001. Vol. 47/48, Iss. 4/1; pg. 9, 24 pgs
UC users only

Stan Brakhage : filmmaker
Edited by David E. James. Philadelphia : Temple University Press, c2005. Wide angle books
Full text available online (UCB users only)
Main Stack PN1998.3.B74.S72 2005

Testa, Bart.
"Late and Somewhere Firm: Notes on Stan Brakhage's Vancouver Island Films." Canadian Journal of Film Studies. Spring 2005. Vol. 14, Iss. 1; pg. 12, 14 pgs
UC users only

Testa, Bart.
"Seeing with Experimental Eyes: Stan Brakhage's The Act of Seeing with One's Own Eyes." In: Documenting the Documentary: Close Readings of Documentary Film and Video the Documentary: Close Readings of Documentary Film and Video / edited by Barry Keith Grant and Jeannette Sloniowski. pp: 269-85. Detroit: Wayne State University Press, c1998. Contemporary film and television series
Moffitt PN1995.9.D6.D58 1998

Varela, Willie.
"Remembering Stan Brakhage: An E-mail conversation between Steve Anker and Willie Varela.(Interview)." Journal of Film and Video 57.1-2 (Spring-Summer 2005): 9(14).
UC users only
Steve Anker, a critic, curator who served as artistic director of the San Francisco Cinematheque, discusses about St an Brakhage's work and his contribution to experimental cinema. He states that thinking of Stan's death as the 'end of an era' overstates the importance that he or any single individual can have to the activity sometimes called avant-grade or experimental cinema.

Wees, William C. (ed. and introd.)
"A Sense of Sight: A Special Issue Devoted to Stan Brakhage." Canadian Journal of Film Studies/Revue Canadienne D'Etudes Cin?matographiques, vol. 14, no. 1, pp. 5-100, Spring 2005

Wees, William C.
"Words and Images in Stan Brakhage's "23rd Psalm Branch"." Cinema Journal Vol. 27, No. 2 (Winter, 1988), pp. 40-49
UC users only

Weiss, Allen S.
"An Eye for an I: On the Art of Fascination." SubStance: A Review of Theory and Literary Criticism, vol. 15 no. 3 (51). 1986. pp: 87-95.

White, Jerry .
"Brakhage's Tarkovsky and Tarkovsky's Brakhage: Collectivity, Subjectivity, and the Dream of Cinema." Canadian Journal of Film Studies. Spring 2005. Vol. 14, Iss. 1; p. 69 (15 pages)
UC users only

Obituaries

Anker, Steve
"Stan Brakhage." [Obituary]. Film Comment v. 39 no. 3 (May/June 2003) p. 10-11
UC users only

Arthur, Paul.
"Stan Brakhage. (Obituary)(Obituary)." Sight and Sound May 2003 v13 i5 p3(1)

Jarnot, Lisa
"Stan Brakhage (1933-2003)(Notes & Comments)(Obituary)." Chicago Review Summer 2003 v49 i2 p183(2) (628 words)

Michelson, A.
"Stan Brakhage (1933-2003)." October 108.1 (March 1, 2004): 112(4).
UCB users only

Scott, A.O.
"Stan Brakhage, avant-garde filmmaker, is dead at 70." (Obituary) The New York Times March 12, 2003 pC23(N) pC23(L) col 3 (40 col in) Stan Brakhage, avant-garde filmmaker, is dead at 70. (Obituary) A.O. Scott. The New York Times March 12, 2003 pC23(N) pC23(L) col 3 (40 col in)

Sitney, P. Adams.
"Celluloid hero: P. Adams Sitney on Stan Brakhage.(Passages)(Obituary)." Artforum International 42.1 (Sept 2003): 41(2).

Solomon, Phil.
"A Remembrance for Stan Brakhage."Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 26: (no pagination). 2003 May-June.

VanMeenen, Karen
"Obituary: Stan Brakhage (1933-2002)." Afterimage May-June 2003 v30 i6 p15(1) (719 words)

Robert Breer

Hoberman, J.
"Robert Breer, Animated World." American Film, V5; N10; 1980

Mekas, Jonas; Sitney, P. Adams
" An interview with Robert Breer on May 13, 1971 - in New York City." Film Culture nr 56-57 (Spring 1973); p 39-55

Mendelson, Lois
Robert Breer, A Study of His Work in the Context of the Modernist Tradition / by Lois Mendelson Ann Arbor, Mich.: UMI Research Press, c1981 Studies in photography and cinematography; 7
Main Stack PN1998.A3.B6433 1981

Macdonald, Scott.
"But First a Little Ru-Ru: An Interview with Robert Breer - Recent Films." The Velvet Light Trap, vol. 24. 1989 Fall. pp: 75-84.

Macdonald, Scott.
" Lost lost lost over 'Lost lost lost'." Cinema Journal Vol XXV nr 2 (Winter 1986); p 20-34
Introduction to Jonas Mekas' epic experimental 'diary' film focuses on its narrative structure.

Taylor, G.
"The Cinema Of Ontology - Sound-Image Abstraction In Robert Breer's 'T.Z.'" Wide Angle, Jan V15; N1; 1993; 44-65

Taubin, A.
"Robert Breer." Artforum V19; N1; 1980

James Broughton

Bartone, Richard
"Three films by James Broughton and Joel Singer." Millennium Film Journal nr 2 (Spring-Summer 1978); p 114-116
Appraisal of the three films made by J.B. and J.S.: "Windowmobile", "The song of the Godbody", "Together".

Broughton, James Richard
Coming unbuttoned : a memoir San Francisco : City Lights, 1993.
BANC: \p\ PS3503.R759 Z464 1993
MAIN: PS3503.R759 Z464 1993

Broughton, James
"The necessity of living poetically in an electronic age." Film Culture nr 61 (1975-76); p 19-28
J.B. discusses the interactions between craft and art, filmmaking and poetry. Lecture to the American Craftsmen's Council Oct 11, 1968.

Broughton, James
"What magic in the lanterns? Notes on poetry and film." Film Culture nr 61 (1975-76); p 35-40
The influences and relationships between poetry and film

Elder, Bruce (R. Bruce)
"The Body as Sacred—The Films of James Broughton, Especially: The Golden Positions." In: Body of vision : representations of the body in recent film and poetry / R. Bruce Elder. Waterloo, Ont. : Wilfrid Laurier University Press, c1997.
Full text available online (UCB users only
Main (Gardner) Stacks PN1995.9.B62 E43 1997
Pacific Film Archive PN1995.9.B62 E43 1997

Inciting big joy : James Broughton at 80
[edited by Albert Kilchesty]. San Francisco, CA (430 Potrero Ave., San Francisco, CA) : San Francisco Cinematheque, c1993.
BANC: \pf\ PN1998.3.B76 I53 1993 Storage Info: W 139 314

"James Broughton."Film Culture nr 61 (1975-76); p 1-99
Articles about interviews with and writings by independent film-maker J.B

Lipman, Robert.
"Quest for the Ecstatic: The Films of James Broughton." Credences: A Journal of Twentieth Century Poetry and Poetics. 2 (2-3 [5-6]): 82-86. 1978 Mar..

Morris, Gary.
"Laughing Pan: James Broughton." Bright Lights Film Journal. 27: (no pagination). 2000 Jan

Sheehy, T. Film Quarterly Vol XXIX nr 4 (Summer 1976); p 2-13
"Celebration - Four films by James Broughton."
T.S. discusses the career of James Broughton through an analysis of his films, esp. "Mother's Day", "Dreamwood", "The pleasure garden" and "Bed".

Sitney, P. Adams
"Autobiography in avant-garde film." v
On the autobiographical quality of some avant-garde films such as "Film portrait" and the work of Brakhage, Broughton and Landow.

Thompson, Mark
"In the Service of Ecstasy: An Interview with James Broughton." In: Gay Spirit: Myth and Meaning. New York : St. Martin's Press, c1987.
MAIN: HQ76.25 .T491 1987

Luis Bunuel and Salvador Dali

See French Film bibliography

Rene Clair

See French Film bibliography

Shirley Clarke

Full-text article on beat generation film by Ray Carney

Anderson, Melissa.
"The vagaries of verities: On Shirley Clarke's Portrait of Jason." Film Comment. Nov/Dec 1999. Vol. 35, Iss. 6; p. 56 (4 pages)

Angelini, Sergio; Bell, James; Leyland, Matthew; Macnab, Geoffrey; Stables, Kate; Toal, Andrea.
"Portrait of Jason." Sight & Sound, Dec2005, Vol. 15 Issue 12, p91-91
UC users only

Bebb, Bruce.
"The Many Media of Shirley Clarke." The Journal of the University Film and Video Association Vol. 34, No. 2 (Spring 1982), pp. 3-8

Blick, William.
"The Connection." Senses of Cinema, Issue 33

Bronski, Michael
"Portrait of Jason." Cineaste; Winter2006, Vol. 32 Issue 1, p65-65, 1p
UC users only

Grant, Barry Keith.
"When Worlds Collide: The Cool World." Literature/ Film Quarterly, vol. 18 no. 3.1990. pp: 179-187.
Defends the raw, anti-Hollywood approach of Shirley Clarke to her second feature "The Cool World", adapted from Warren Miller's novel, noting the influence of its producer Frederick Wiseman and how it looks ahead to the concerns of his later documentaries.

Halleck.
Remembering Shirley Clarke." Afterimage. Jan/Feb 1998. Vol. 25, Iss. 4; pg. 3, 1 pgs
UC users only

Kael, Pauline.
"The Connection." New Yorker, 11/7/88, Vol. 64 Issue 38, p25-25

Rabinovitz, Lauren.
Points of Resistance: Women, Power & Politics in the New York Avant-Garde Cinema, 1943-71. Urbana: University of Illinois Press, c1991.
Main (Gardner) Stacks PN1995.9.E96 R34 2003

Stevens, Brad
"The Clarke connection." Sight & Sound; Jun2008, Vol. 18 Issue 6, p21-21
UC users only

Sutpen, Tom.
"Dancing and Dirging with Jason: On Shirley Clarke's Portrait of Jason: "Going on stage would've been awfully redundant". Bright Lights Film Journal, May2005, Issue 48, p74-77, 4p
UCB Main PN1995.9.E96 R34 1991

Jean Cocteau

See French Film bibliography

Bruce Conner

For Bruce Conner papers and manuscripts, consult Bancroft Library

Armstrong, E; Connor, B.
"Interview with Bruce Conner." October, 1994 Fall, N70:57-59.

Brakhage, Stan.
Film at Wit's End: Eight Avant-Garde Filmmakers. 1st ed. Kingston, N.Y.: Documentext, c1989.
UCB Main PN1995.9.E96 B741 1989;
UCB Moffitt PN1995.9.E96 B74 1989

Conner, Bruce.
2000 BC : the Bruce Conner story part II. Minneapolis : Walker Art Center, c1999.
AH-C: \f\ N6537.C65 A4 1999 Room 308G
BANC: \f\ N6537.C65 A4 1999;
PFA : PN1998.3.C655 C66 1999

Conner, Bruce.
Bruce Conner : the 70s / Ursula Blickle Stiftung, Kunsthalle Wien, Gerald Matt, Barbara Steffen. Wien : Kunsthalle Wien ; Kraichtal : Urusla Blickle Stiftung ; Nürnberg : Verlag für moderne Kunst Nürnberg, c2010.
Bancroft N6537.C65 A4 2010 AVAILABLE LIB USE ONLY

DeFeo, Jay; Conner, Bruce.
"A Conversation." Grand Street v13, n4 (Spring, 1995):223 (12 pages).
UC users only

Duncan, Michael
"Keeping Upwith Conner." Art in America June 2000 v88 i6 p104 (4284 words)

An Evening with Bruce Conner and Dennis Hopper, September 30, 1996 City Arts & Lectures. 1 hour, 24 min., 13 sec.
Listen Online (UCB users only)

Grindon, Leger.
"Significance Reexamined: A Report on Bruce Conner." Post Script: Essays in Film and the Humanities. 4 (2): 32-44. 1985 Winter.
On the films of B.C. which offer a cogent example of daring form and ideological address.

"Interviews with Ed Ruscha and Bruce Conner." In: The Duchamp effect / edited by Martha Buskirk and Mignon Nixon. Cambridge, Mass. : MIT Press, c1996.

Haller, Robert A.
"Excerpts from an interview with Bruce Conner conducted in July of 1971" Film Culture, no67-69 (1979) p. 191-4

Hatch, Kevin
""It has to do with the theater": Bruce Conner's Ratbastards." October, Winter2009, Issue 127, p109-132, 24p
UC users only

Kleinhans, Chuck
"Wanda. Marilyn times five; seeing through cinema verite." Jump Cut nr 1 (May-June 1974); p 14-15
Analysis of two films that deal with women as victims.

MacDonald, Scott,
"I don't go to the movies anymore: an interview with Bruce Conner {with filmography}" Afterimage, v. 10 no1/2 (Summer 1982) p. 20-3

MacDonald, Scott, ed.
"Nathaniel Dorsky and Larry Jordan on Stan Brakhage, Maya Deren, Joseph Cornell, and Bruce Conner." Quarterly Review of Film and Video v. 24 no. 1 (2007) p. 1-10
UC users only
"In an interview conducted by Nathaniel Dorsky, Larry Jordan reminisces about the early years of his longtime friend and colleague, the late influential filmmaker Stan Brakhage. Jordan discusses a range of topics, including Brakhage's interests when he was a high-school student in Denver, Colorado; his life when he returned to Denver after a semester at Dartmouth and made his film Interim; the films he made during his stay in San Francisco, California; his association with artists Maya Deren and Joseph Cornell in New York; and the strong scene he established in Colorado upon his return." [Art Index]

Marcus, Greil
"Bruce Conner: the gnostic strain. Artforum International, Dec 1992 v31 n4 p74(6)
"Bruce Conner is known for his engraving collages for more than 30 years. His more recent works reflect an increased intensity in terms of whole and unified fields. His works have been linked to those of Max Ernst although this link has become less prominent. Whereas Ernst's works are crowded with furniture and set indoors, Conner's collages are set in open spaces. These works have been said to contain a sense of the uncanny, a force that exists and will outlast any social construction. The common features of his works include pyramidal shapes or open eyes embedded in the landscape." [Expanded Academic Index]

Marcus, Greil
"Ritual in transfigured time: Greil Marcus looks at Bruce Conner's The White Rose and sees a visual document, an abduction, a murder mystery, and a primeval rite." Film Comment Jan-Feb 2005 v41 i1 p62
UC users only

Moritz, William; O'Neill, B.
"Fallout: some notes on the films of Bruce Conner." Film Quarterly Vol XXXI nr 4 (Summer 1978); p 36-42
UC users only
An assessment of the films of B.C. with a special examination of 'Crossroads'

Peterson, James.
"Bruce Conner and the Compilation Narrative." Wide Angle: A Film Quarterly of Theory, Criticism, and Practice. 8 (3-4): 53-62. 1986.
In his compilation narratives in which the independence of formal narrative from structure is typical, B.C. exploits the audience drive for narrative comprehension.

Reveaux, Anthony.
Bruce Conner St. Paul, Minn. : Film In The Cities, 1981.
MAIN: PN1998.A3 C7838 1981; Storage Info: B 4 140 137
PFA : PN1998.3.C655 R48 1981

"San Francisco." Wide Angle Vol XIV nr 3-4 (July-Oct 1992); p 8-135
Dedicated to the recent work of independent filmmakers based in San Francisco: George Kuchar, Bruce Baillie, Bruce Conner, Dean Snider, Michael Rudnick and Craig Baldwin.

Shedlin, M.
"Marilyn." Film Quarterly Vol XXVII nr 3 (Spring 1974); p 47

Snider, D.
"The importance of being Bruce." Wide Angle Vol XIV nr 3-4 (July-Oct 1992); p 56-57
Dean Snider pays tribute to fellow independent filmmaker B.C.

Tuchman M.
"An Interview With Bruce Conner." Film Comment V17; N5; 1981

Wallach, Amei
"The favorite word in his vocabulary is undermine." (Bruce Conner) The New York Times Oct 1, 2000 pAR35(N) pAR35(L) col 1 (25 col in)

Yau, John
"Poetry in motion." (A Column)(Critical Essay) The American Poetry Review, Jan-Feb 2005 v34 i1 p35(4)
UC users only

Maya Deren

Bower, A.
"Five avant-garde films."The Nation v. 168 (January 1 1949) p. 25

Brakhage, Jane.
"Maya Deren." In: From the book of legends of Jane Brakhage. 1st ed. New York : Granary Books, 1989.
Bancroft pPS138.B8 1989 Non-circulating; may be used only in The Bancroft Library.

Brakhage, Stan.
"Maya Deren." In" Film at Wit's End: Eight Avant-Garde Filmmakers. 1st ed. Kingston, N.Y.: Documentext, c1989.
UCB Main PN1995.9.E96 B741 1989
UCB Moffitt PN1995.9.E96 B74 1989

Brannigan, Erin
"Maya Deren, Dance, and Gestural Encounters in Ritual in Transfigured Time."Senses of Cinema

Brannigan, Erin
"Maya Deren : strategies for dancefilm." In" Dancefilm : choreography and the moving image / Erin Brannigan. New York : Oxford University Press, 2011.
Main (Gardner) Stacks GV1779 .B73 2011

Butler, A.
""Motor-driven metaphysics": movement, time and action in the films of Maya Deren." Screen (London, England) v. 48 no. 1 (Spring 2007) p. 1-23
UC users only
"The film work of 1940s artist filmmaker Maya Deren is discussed. A constant thread throughout Deren's film work--alongside her other well-documented interests in dance, anthropology, and poetics--is an interest in the creation of new images of time and movement, with the idea that scientific and technological change has repercussions throughout the culture being integral to it. A frequent touchstone in her thought was the theory of relativity, toward which she was led by her interest in science, and she also believed that organic aesthetics could counteract the alienation of modernity--an idea that was strengthened by her interest in ritual and her experiences with Haitian Voudoun. Her ambition to create a movement-image where the most prominent dimension was time seems paradoxical today but would have seem the frontier of experimental film practice in her day." [Art Index]

"Camera Obscura Collective: excerpts from an interview with 'The legend of Maya Deren' project."
Camera Obscura nr 3-4 (Summer 1979); p 176-191
The collective behind the documentary biography 'The legend of Maya Deren' discusses its work.

Cosentino, D.
"Vodou carnival."Aperture no. 126 (Winter 1992) p. 22-31

Clark, VeVe A.
The Legend of Maya Deren: A Documentary Biography and Collected Works. by VeVe A. Clark, Millicent Hodson, Catrina Neiman. New York: Anthology Film Archives/Film Culture, 1984-<1988>
UCB Main PN1998.A3 D4573 1984 v. 1:1-2 (1984, 1988)

Cook, Pam
"Chambers and corridors - Maya Deren." Monthly Film Bulletin Vol LV nr 654 (July 1988); p 220
Profile of US avant-garde filmmaker Maya Deren

Cook, Pam
"Invocation Maya Deren."Monthly Film Bulletin Vol LV nr 653 (June 1988); p 170-171

Cornwell, Regina
"Maya Deren and Germaine Dulac : activists of the avant-garde." In: Sexual stratagems : the world of women in film / edited by Patricia Erens New York : Horizon Press, c1979 Erens, Patricia, 1938
Main Stack PN1992.8.W65.S4
Moffitt PN1992.8.W65.S4

Debouzek, Jeanette.
"Maya Deren: A Portrait of the Artist as Ethnographer."Women & Performance: A Journal of Feminist Theory. 5 (2(10)): 7-28. 1992.

De Hirsch, Storm and Clarke, Shirley
"Maya Deren -- A conversation." In: Women and the cinema : a critical anthology / edited by Karyn Kay and Gerald Peary. 1st ed. New York : Dutton, c1977.
Main Stack PN1995.9.W6W65
Moffitt PN1995.9.W6W65

Deren, Maya
"Drums and Dance." Salmagundi 33/34 (1976:Spring/Summer) 193

Deren, Maya
Essential Deren : collected writings on film / by Maya Deren; edited with a preface by Bruce R. McPherson. Kingston, N.Y.: Documentext, c2005
PFA : PN1998.3.D45 D47 2004
MAIN: PN1995 .D467 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0422/2004020351.html

Deren, Maya
"From the Notebook of Maya Deren, 1947." October, Vol. 14. (Autumn, 1980), pp. 21-46.
UC users only

Deren, Maya
"Tempo and tension." In: Jacobs, Lewis. The movies as medium. New York, Farrar, Straus & Giroux [1970]
Main Stack PN1994.J245
Moffitt PN1994.J245

Dilas, Vikica
"Meshing with Lynch."Sight & Sound Vol VII nr 10 (Oct 1997); p 72
Cites "Meshes of the afternoon" as a direct influence on David Lynch's "Lost highway".

Durant, M.A.
"Maya Deren and the Skin Between Us."Camerawork v. 30 no. 2 (Fall/Winter 2003) p. 24-8
"The writer reflects on his research into the life and work of filmmaker Maya Deren. He discusses how Deren's personal photographs punctuate the timeline of her life (1917-61). Describing the feeling of intimacy with Deren the he has developed during his research, he imagines a narrative to a photograph of Deren taken on a beach in the early 1940s." [Art Index]

Dusinberre, D.
"Ritual in transfigured time."Monthly Film Bulletin Vol LV nr 654 (July 1988); p 217-218

Fabe, Marilyn.
"Maya Deren's Fatal Attraction: A Psychoanalytic Reading of 'Meshes of the Afternoon' with a Psycho-biographical Afterword." Women's Studies v25, n2 (Jan, 1996):137 (16 pages).

Farber, M.
"Maya Deren's films."The New Republic v. 115 (October 28 1946) p. 555

Fischer-Hornung, Dorothea
"'Keep alive the powers of Africa': Katherine Dunham, Zora Neale Hurston, Maya Deren, and the Circum-Caribbean Culture of Vodoun." Atlantic Studies; Dec2008, Vol. 5 Issue 3, p347-362, 16p
UC users only

Fowler, C.
"Room for experiment: gallery films and vertical time from Maya Deren to Eija Liisa Ahtila." Screen v. 45 no. 4 (Winter 2004) p. 324-43
"An analysis of the use of the moving image by artist filmmakers in the gallery context from the 1990s onward. The writer explores such issues as how a different exhibition space might provide an alternative viewing experience; and how the gallery context, gallery films, and the diptych form might allow one to reconsider linear time and the potential of editing operating in space as well as in time. Through this discussion she paves the way for an embedding of this formalist work into more involved analyses of time (linear, vertical, subjective) and space in cinema (in-frame, out-of-frame, onscreen and offscreen, and embodied), for example, using the work of Bergson, Deleuze, Manovich, and Bellour. She also shows that, while they may have selected a different room for their experiment, gallery films should not be omitted from the frame of film theory, since the project of such films is often to explore and broaden one's understanding of what cinema is and could be. Her discussion focuses on the films of Maya Deren and Eija Liisa Ahtila." [Art Index]

Geller, Theresa L.
""Each film was built as a chamber and became a corridor": Maya Deren's film aesthetics as feminist praxis." In: There she goes : feminist filmmaking and beyond / edited by Corinn Columpar and Sophie Mayer. Detroit : Wayne State University Press, c2009.
Main (Gardner) Stacks PN1995.9.W6 T42 2009

Geller, Theresa L.
"The Personal Cinema of Maya Deren: Meshes of the Afternoon and Its Critical Reception in the History of the Avant-Garde." Biography - Volume 29, Number 1, Winter 2006, pp. 140-158 - Article
UC users only
Maya Deren's role within the history of the avant-garde is irreducibly tied to the reception of her groundbreaking film, Meshes of the Afternoon. In its avant-garde aesthetics, Meshes challenges the psychic structures of gendered subjectivity. By examining how the film's critique reflected Deren's position as a woman filmmaker, Meshes emerges as a significant work of feminist cinematic autobiography.

Haslem, Wendy.
"Maya Deren" (Great Directors: A Critical Database) Senses of Cinema

Inverted odysseys : Claude Cahun, Maya Deren, Cindy Sherman / edited by Shelley Rice. New York : Grey Art Gallery, New York University ; North Miami : Museum of Contemporary Art ; Cambridge, Mass. : MIT Press, c1999.
Main Stack TR645.N72.G735 1999
Art/Classics TR645.N72.G735 1999 Room 308G

Jackson, Renata.
The modernist poetics and experimental film practice of Maya Deren, (1917-1961) / Lewiston: Edwin Mellen Press, c2002.
MAIN: PN1998.3.D47 J33 2002

Jacobs, Lewis.
"Maya Deren -- Time and space." In: The movies as medium. New York, Farrar, Straus & Giroux [1970]
Main Stack PN1994.J245
Moffitt PN1994.J245

Jason, Philip K.
"Oscar Baradinsky's 'Outcasts': Henry Miller, Anais Nin, Maya Deren and the Alicat Book Shop Press."Anais: An International Journal, vol.3. 1985. pp: 109-116.

Kaplan, E. Ann.
"The Ethics of Witnessing: Maya Deren and Tracey Moffatt. In: Trauma culture : the politics of terror and loss in media and literature. New Brunswick, N.J. : Rutgers University Press, c2005.
Main Stack PN1995.9.T46.K37 2005

Khrenov, Andrei.
"Fragmented Self in a Shattered Mirror: Martina Kudlacek's In the Mirror of Maya Deren (2001)."Kinoeye. 2 (20): (no pagination). 2002 Dec 16.

Kuhn, Annette
"Meshes of the afternoon."Monthly Film Bulletin Vol LV nr 653 (June 1988); p 186-187

Maya Deren and the American avant-garde
Edited by Bill Nichols. Berkeley : University of California Press, c2001.
Some contributions are rev. papers of a 1996 conference held at the San Francisco State University in conjunction with a film series at the San Francisco Museum of Modern Art; other contributions were prepared for this volume. The text of Maya Deren's "An anagram of ideas on art, form, and film" is included in the appendix. Includes bibliographical references and index.
Main Stack PN1998.3.D47.M39 2001
PFA PN1998.3.D45.M39 2001

McCreadie, Marsha
" The theorists: Susan Sontag, Annette Michelson, Maya Deren, Hortense Powdermaker, and Claude-Edmonde Magny." In: Women on film : the critical eye / Marsha McCreadie New York, N.Y. : Praeger, 1983
Moffitt PN1995.M377 1983

Michelson, Annette
"On Reading Deren's Notebook." October, Vol. 14. (Autumn, 1980), pp. 47-54.
UC users only

Millsapps J. L.
"Deren,Maya, Imagist."Literature-Film Quarterly, V14; N1; 1986; 22-31
On the influence of the Imagist poets on the films of M.D.

Mosca U.
"Deren, Maya - American Avant-Garde Cinema Of The 40s."Cineforum, May V32; N5; 1992; 28-31

Neiman, Catrina
"An Introduction to the Notebook of Maya Deren, 1947." October, Vol. 14. (Autumn, 1980), pp. 3-15.
UC users only

Nekola, C.
"On Not Being Maya Deren." Wide Angle: A Quarterly Journal of Film History, Theory, Criticism, and Practice, 1996 Oct, V18 N4:29-37.
UC users only
The author reflects on the influence Maya Deren has had on her life and thinking; inspired by a viewing of "Meshes of the afternoon" 15 years after her initial enthusiasm."

Ok Hee Jeong
"Reflections on Maya Deren's Forgotten Film, The Very Eye of Night." Dance Chronicle, 2009, Vol. 32 Issue 3, p412-441, 30p
UC users only

O'Pray, Michael
"Study in choreography for camera." Monthly Film Bulletin Vol LV nr 654 (July 1988); p 218-219

O'Pray, Michael
"Meshes, trances & meditations: Maya Deren 9 times a life."Monthly Film Bulletin Vol LV nr 653 (June 1988); p 183-185
Profile of the life and work of US avant-garde filmmaker M.D.

Perlmuter, Ruth
"Memories, Dreams, Screens." Quarterly Review of Film and Video v. 22 no. 2 (April/June 2005) p. 125-34
" The writer discusses films that use dreams and memories to convey the tension between remembering and repressing an unacceptable past. In Maya Deren's Meshes of the Afternoon, Ingmar Bergman's Persona, Robert Altman's Three Women, Samuel Beckett's Film, Christopher Nolan's Memento, and David Lynch's Mulholland Drive, repression frequently assumes a neuro-pathological form, in that the films tend to be motivated by characters with either hysterical transference (like an exchange of personalities) or a psychological ailment, such as amnesia, muteness, or paralysis. The psychic disturbances of the characters are often matched by a method of indirection, abstraction, looking away, as well as a host of disassociative devices that dissect the inner thoughts of a subjective consciousness attempting to deal with a horrible past event. Dissassociation, repetition, multiple strands, doublings, and character transgression place such a strain on reality and credibility that some films interrogate whether it is possible to unblock memory and reconstitute the past. The text itself may react to repression and the denial of reality by collapsing, experiencing a textual trauma that parallels mental breakdown." [Art Index]

Pramaggiore, Maria.
"Performance and Persona in the U. S. Avant-Garde: The Case of Maya Deren."Cinema Journal. 36(2):17-40. 1997 Winter.
UC users only
"The writer explores the persona construction of Maya Deren, one of the most celebrated figures in alternative film culture. She analyzes how Deren's persona was produced through live appearances, film reviews and interviews, and the circulation of her photographic image, pointing out that this marketing strategy does not differentiate avant-garde film culture from mainstream film. She discusses the relationship between Deren's persona and her performance in 1940s "trance" films, arguing that whereas her film protagonists do not "guarantee" textual meaning through persona, Deren's promotional efforts helped create an image of the modernist artist-auteur; her films, she contends, explicitly deconstruct ideas of individualism and engage an aesthetic of depersonalization. She asserts that Deren's marketing activities and her film performances reflect and are linked by an ethic of participation; for her, film was by its nature a performative art, and film performances were never limited to the screen." [Art Index]

Pruitt, John
"Stan Brakhage and the Long Beach of Maya Deren's poetis of film." Chicago Review. Chicago: Winter 2001. Vol. 47/48, Iss. 4/1; p. 116 (20 pages)dd>UC users only
From a range of possible filmmakers, Maya Deren is worth considering as Stan Brakhage's most important immediate predecessor. Like Brakhage, Deren also produced in writing a significant theoretical position towards cinematic art.

Rabinovitz, Lauren.
Points of Resistance: Women, Power & Politics in the New York Avant-Garde Cinema, 1943-71. Urbana: University of Illinois Press, c1991.
UCB Main PN1995.9.E96 R34 1991

Rees, A.L.
"Meditation on violence." Monthly Film Bulletin Vol LV nr 654 (July 1988); p 216-217

Reynolds, C.
"Maya Deren."Popular Photography v. 50 (February 1962) p. 83+

Rich, B. Ruby
"Voodoo verit? : Maya Deren's Divine horsemen." In: Chick flicks : theories and memories of the feminist film movement / B. Ruby Rich. Durham, N.C. : Duke University Press, 1998.
Grad Svcs PN1995.9.W6.R47 1998 Non-circulating; may be used only in Graduate Services.
Main Stack PN1995.9.W6.R47 1998

Rowe, C.
"Illuminating Lucifer."Film Quarterly v. 27 (Summer 1974) p. 24-33

Russell, Catherine
"Ecstatic ethnography: Maya Deren and the filming of possession rituals." In: Rites of realism : essays on corporeal cinema / edited by Ivone Margulies. Durham : Duke University Press, 2003.
Grad Svcs PN1995.9.R3.R58 2003 Non-circulating; may be used only in Graduate Services.
Main Stack PN1995.9.R3.R58 2003

Satin, Leslie.
"Movement and the Body in Maya Deren's Meshes of the Afternoon." Women & Performance: A Journal of Feminist Theory, vol. 6 no. 2 (12). 1993. pp: 41-56.

Schulman, S. A
"Thought about Leni Riefenstahl, Maya Deren, and Gay and Lesbian Film."Millennium Film Journal no. 41 (Fall 2003) p. 45-9
"Part of a special section on gay and lesbian experimental cinema. The writer argues that the two most significant aesthetic trends in gay and lesbian cinema came from the work of two straight women, Leni Riefenstahl and Maya Deren. Watching Triumph of the Will (1935) makes clear that the fascist aesthetic that Riefenstahl pioneered in cinema may be the single most important influence, since the Greeks, on gay male representation. Riefenstahl's heterosexual femininity brings fascism's homoerotic component to a proactive foreground. Deren's Meshes of the Afternoon (1944) is the most stimulating representation of a woman by a woman (in this case, Deren herself) on film for its time. In the piece, one can see the wild-woman sensibility that has been passed down through four generations of lesbian artists as a badge of honor and attraction." [Art Index]

Sitney, P. Adams.
"Meshes of the Afternoon." In: Visionary film : the American avant-garde, 1943-2000 / P. Adams Sitney. Oxford ; New York : Oxford University Press, 2002.
Graduate Services PN1995.9.E96 S53 2002
Main (Gardner) Stacks PN1995.9.E96 S53 2002
Pacific Film Archive PN1995.9.E96 S58 2002

Smetak Jr.
"Continuum Or Break - 'Divine Horsemen' and The Films Of Maya Deren."New Orleans Review, V17; N4; 1990; 89-97

Turim, Maureen
"The Interiority of Space: Desire and Maya Deren." In: Avant-garde film / edited by Alexander Graf and Dietrich Scheunemann. Amsterdam ; New York : Rodopi, 2007.
Main (Gardner) Stacks PN1995.9.E96 A89 2007

Warwick, M.
"At land."Monthly Film Bulletin Vol LV nr 653 (June 1988); p 185-186

Dogme

See separate Lars von Trier bibliography

Germain Dulac

Cornwell, Regina
"Maya Deren and Germaine Dulac : activists of the avant-garde." In: Sexual stratagems : the world of women in film / edited by Patricia Erens New York : Horizon Press, c1979 Erens, Patricia, 1938
Main Stack PN1992.8.W65.S4
Moffitt PN1992.8.W65.S4

Flitterman-Lewis, Sandy.
"The Image and the Spark: Dulac and Artaud Reviewed." Dada/Surrealism, vol. 15. 1986. pp: 110-127.

Hayward, Susan.
"A History of French Cinema: 1895-1991: Pioneering Film-Makers (Guy, Dulac, Varda) and Their Heritage." Paragraph: A Journal of Modern Critical Theory, vol. 15 no. 1. 1992 Mar. pp: 19-37.

Turim, Maureen
"Germaine Dulac." In: Women and experimental filmmaking / edited by Jean Petrolle and Virginia Wright Wexman. Urbana : University of Illinois, c2005.
Table of contents http://www.loc.gov/catdir/toc/ecip055/2004029712.html
Main Stack PN1995.9.E96.W66 2005

Williams, Tami M.
"Dancing with Light: Choreographies of Gender in the Cinema of Germaine Dulac." In: Avant-garde film / edited by Alexander Graf and Dietrich Scheunemann. Amsterdam ; New York : Rodopi, 2007.
Main (Gardner) Stacks PN1995.9.E96 A89 2007

Seashell and the Clergyman

Dozoretz, W.
"Dulac Versus Artaud." Wide Angle III/1, 79; p.46-53. illus.
Analyses "La coquille et le clergyman" and the irreconcilable differences between Germaine Dulac and Antonin Artaud.

Flitterman, S.
"Theorizing 'The Feminine' Woman as the Figure of Desire in The Seashell and the Clergyman." Wide Angle VI/3, 84; p.32-39. illus.
The image of the woman in "La coquille et le clergyman" draws the viewer into seeing things which are not there.

Greene, Naomi
"Artaud and Film: A Reconsideration."
UC users only Cinema Journal XXIII/4, Summer 84; p.28-40.
Explores Artaud's scenarios, esp. "La coquille et le clergyman", in the light of his own preoccupations and in relation to French artistic currents of the 1920's.

Maule, Rosanna
"The Importance of Being a Film Author: Germaine Dulac and Female Authorship."Senses of Cinema

The Smiling Madame Beudet

Dozoretz, W.
"Madame Beudet's Smile: Feminine or Feminist?" Film Reader /5, 82; p.41-46.
Outlines the importance of a psychoanalytical reading of films by Germaine Dulac, esp. "La souriante Madame Beudet", in order to uncover their essentially 'feminine' qualities.

Harun Farocki

Alter, Nora M.
"The Political Im/Perceptible in the Essay Film: Farocki's Images of the World and the Inscription of War."New German Critique. 68:165-92. 1996 Spring-Summer
UC users only

Baumgartel, Tilman
Vom Guerillakino zum Essayfilm: Harun Farocki : Werkmonographie eines Autorenfilmers Berlin : b books, 2002.
MAIN: PN1998.3.F367 B38 2002

Blumlinger, Christa; Laruelle, Sally, tr.
"Harun Farocki: strategies critiques / Harun Farocki: Critical Strategies." Parachute no. 111 (June/July/August 2003) p. 112-25
UC users only
"Part of a special section on democracy in contemporary art. The work of Berlin-based artist Harun Farocki is discussed. Since his early days as an activist in the late 1960s, Farocki has always been a profoundly contemporary artist, capable of understanding--indeed of anticipating--the symptoms of discontent in civilization, whether by capturing on-the-spot action or by reworking existing images. His installations and films, into which he incorporates elements that might be considered visual, appear to disclose their own production process, like a sort of open work, but his many writings also refer to filmic articulation as one of the difficulties of the creative process. In Farocki's work, consideration of the symbolic form of the image is just the first step; the real distinction comes with the montage, an essential operation between image and image, sound and image, and word and image that leads the viewer step-by-step toward thought." [Art Index]

Durand, Regis
"Harun Farocki: the entire history of the world in an image." Art Press no. 190 (April 1994) p. 77-8
"In advance of a retrospective of filmmaker Harun Farocki's work at the Jeu de Paume in Paris, France, the writer discusses some of his films. Despite the diversity of Farocki's films, they all have one point in common: They question the nature, production, transformation, and reception of images. He frequently reuses images that have been exploited elsewhere in different contexts, such as archive photographs, television footage, and advertising images; the unending flood of images that has now become our true habitat. His work offers a stimulating reflection on our desire for images." [Art Index]

Elsaesser, Thomas
"The Future of 'Art' and 'Work' in the Age of Vision Machines: Harun Farocki." In: After the avant-garde : contemporary German and Austrian experimental film / edited by Randall Halle and Reinhild Steingröver. Rochester, N.Y. : Camden House, 2008.
Main (Gardner) Stacks PN1995.9.E96 A38 2008

Elsaesser, Thomas (ed. and introd.).
"Harun Farocki."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 21:(no pagination). 2002 July-Aug

Elsaesser, Thomas.
"'It Started with These Images'-Some Notes on Political Film-Making after Brecht in Germany: Helke Sander and Harun Farocki."Discourse. 7:95-120. 1985 Fall

Farocki, Harun
Harun Farocki : a retrospective New York: Goethe House New York, 1991.
MAIN: XM04.02687; Storage Info: B 4 893 654

Farocki, Harun. Faasch-Ibrahim, Laurent (translator).
"Workers Leaving the Factory."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 21:(no pagination). 2002 July-Aug

Foster, H.
"Vision Quest: The Cinema of Harun Farocki." Artforum International v. 43 no. 3 (November 2004) p. 156-61, 250
"Politicized by the struggles around the Vietnam War in the 1960s and the Red Army Faction in the 1970s, director Harun Farocki is best known for such "essay films" as Images of the World and the Inscription of War (1988), How to Live in the German Federal Republic (1990), and Videograms of a Revolution (1992). In these films, Farocki recuts and reframes archival images largely drawn from institutional records, industrial films, instruction videos, surveillance tapes, and home movies, of such subjects as labor practices, production models, training methods, weapons tests, control spaces, and everyday life. The films are pedagogical but never pedantic, and the intelligence in play is quizzical, elliptical, and generous. Several of the films are discussed in detail." [Art Index]

Gandesha, Samir
"Inscription/Counter-inscription: On Harun Farocki." TOPIA: Canadian Journal of Cultural Studies, Number 11, Spring 2004
UC users only
"Berlin-based Harun Farocki is perhaps one of the most important independent filmmakers active today. Having risen to prominence in Germany during the tumultuous 1960s, his work continues to provoke us to think critically about the pervasiveness of the image. In this, Farocki can be situated within a rich, specifically German, tradition of reflecting on the political ramifications of technology in the modern period from Nietzsche and Marx through Heidegger, Hannah Arendt and the Frankfurt School. Farocki addresses the fate of political action through an examination of the constellation of institutions that comprise the disciplinary matrix of our present: the shopping mall, the prison, and the military. Observational and disciplinary techniques are deployed in these institutions in such a way as to not only establish limits to political action in the world but also, perhaps more insidiously, to establish or frame the parameters of that world itself."

Griffin, Tim
"Viewfinder: Interview with Harun Farocki." Artforum International v. 43 no. 3 (November 2004) p. 162-3
"An interview with director Harun Farocki, whose recently completed Eye/Machine trilogy made its debut in October 2004 at the 54th Carnegie International in Pittsburgh. Farocki discusses, among other things, the way in which the second Gulf War has changed the imaging of war, the impact of cable news on the framing of the war, the impact of the Internet and other recent developments in technology on cinema, and the change in access to imagery in the second Gulf War compared to the first Gulf War." [Art Index]

Halle, Randall. Czylwik, Sabine (translator).
"History Is Not a Matter of Generations: Interview with Harun Farocki."Camera Obscura. 46:47-75. 2001
UC users only
"Part of a special issue on marginality and alterity in New European cinema. An interview with German director Harun Farocki. The work of Farocki, a filmmaker, critic, theorist, academic, and writer, is linked by his constant exploration of the possibilities and influences of the cinematic apparatus. He discusses his involvement in Filmkritik, a magazine for which he worked as a writer and editor between 1973 and 1983. He goes on to address his film aesthetics, practice, and his film Leben--BRD (How to Live in the German Federal Republic). Other topics discussed include his thoughts on political minorities and identities, his relationship with his audience, and the question of whether the proliferation of video cameras expands a democratic communicative sphere." [Art Index]

Harun Farocki : one image doesn't take the place of the previous one
Sous la direction de = editor Montréal : Galerie Leonard & Bina Ellen Art Gallery, [2008?]
Main (Gardner) Stacks N6888.F36 A4 2008

Harun Farocki : working on the sight-lines
Edited by Thomas Elsaesser. Amsterdam : Amsterdam University Press, 2004. Film culture in transition
Full-text of this book available online via ebrary [UC Berkeley users only]
Main Stack PN1998.3.F365.H37 2004
Contents: Harun Farocki : filmmaker, artist, media theorist / Thomas Elsaesser -- Painting pavements / Volker Siebel -- Images and thoughts, people and things, materials and methods / Jorg Becker -- Incisive divides and revolving images : on the installation Schnittstelle / Christa Blumlinger -- Passage along the shadow-line : feeling one's way towards the Filmkritik-style / Olaf Moller -- The green of the grass : Harun Farocki in Filmkritik / edited by Rainer Knepperges -- Staking one's life : images of Holger Meins / Harun Farocki -- Working at the margins : film as a form of intelligence / Thomas Elsaesser -- Dog from the freeway / Harun Farocki -- Political filmmaking after Brecht : Farocki, for example / Thomas Elsaesser -- The road not taken : films by Harun Farocki / Jonathan Rosenbaum -- Slowly forming a thought while working on images / Christa Blumlinger -- Making the world superfluous : an interview with Harun Farocki / Thomas Elsaesser -- Reality would have to begin / Harun Farocki -- Light weapons / Tom Keenan -- The political im/perceptible : Images of the world-- / Nora Alter -- Workers leaving the factory / Harun Farocki -- On media and democratic politics : Videograms of a revolution / Benjamin Young -- Towards an archive for visual concepts / Wolfgang Ernst and Harun Farocki -- Controlling observation / Harun Farocki -- Nine minutes in the yard : a conversation with Harun Farocki / Rembert Huser -- Harun Farocki : critical strategies / Christa Blumlinger.

Haug, Kate
"Time frame." (remake films 'Shulie' and 'What Farocki Taught') Afterimage Nov-Dec 1998 v26 i3 p15(1) (2185 words)
UC users only
"The film remakes 'Shulie' by Elisabeth Subrin in 1997 and 'What Farocki Taught' by Jill Godmilow in 1998 are very much similar to the original versions filmed in the 1960s. 'Shulie' is a remake of the 1967 film of the same title by Jerry Blumenthal, Sheppard Ferguson, James Leahy and Alan Rettig, while 'What Farocki Taught' is a remake of Harun Farocki's 1969 documentary 'Inextinguishable Fire.' Subrin's and Godmilow's production of their respective film are described." [Expanded Academic Index]

Horne, Jennifer; Kahana, Jonathan.
"A Perfect Replica: An Interview with Harun Farocki and Jill Godmilow." (filmmakers)(Interview) Afterimage v26, n3 (Nov-Dec, 1998):12 (3 pages).
UC users only
"Filmmakers Harun Farocki and Jill Godmilow firmly believe that their works would appeal to international communities and should not be classified as documentary films. Farocki says that he chose the napalm weapon in his film 'Inextinguishable Fire' to depict contributions by American corporations to the war and because the napalm stirs the imagination. Godmilow says that she did not make major changes in her remake of Farocki's work, 'What Farocki Taught,' to show the original films' precision and exact structure." [Expanded Academic Index]

Hyser, Rembert. Thielmann, Winfried (translator). Faasch-Ibrahim, Laurent (translator).
"Nine Minutes in the Yard: A Conversation with Harun Farocki."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 21:(no pagination). 2002 July-Aug

Knepperges, Rainer. Farocki, Harun. Hillman, Roger (translator). Mathieson, Timothy (translator).
"The Green of the Grass: Harun Farocki in Filmkritik."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 21:(no pagination). 2002 July-Aug

Der Arger mit den Bildern : die Filme von Harun Farocki
Herausgegeben von Rolf Aurich und Ulrich Kriest. Konstanz : UVK Medien, c1998.
MAIN: PN1998.3.F367 A8 1998

Lebowitz, Cathy
"To see or not to see: relying almost exclusively on found footage, German independent filmmaker Harun Farocki explores today's pervasive use of surveillance devices and "smart" technology in both war and peace." Art in America Sept 2002 v90 i9 p124(2) (1079 words)
"Berlin-based independent filmmaker Harun Farocki uses existing footage from a wide range of sources. He researches and collects archival material as well as amateur video, and his films seek to subtly disclose the structures behind institutional power and the ideologies embedded in visual communication. Spoken or written text generally plays a central role in constructing alternative meanings for Farocki's found images, which explore today's pervasive use of surveillance devices and technology in war- and peacetime settings. His latest DVD, the 23-minute Eye/Machine, which was shown at Green Naftali Gallery, New York, from February 28 to March 30, continues this theme with its exploration of so-called smart technology." [Art Index]

Maudlin, Beth
"Redressing Invisibility." Film Quarterly; Fall2008, Vol. 62 Issue 1, p102-103, 2p
UC users only

Mikles, Laetitia
" Les yeux des soldats."Positif nr 505 (Mar 2003); p 93-94
Discusses the process of editing in the work of the documentary filmmaker Harun Farocki.

Möller, Olaf. Hillman, Roger (translator). Mathieson, Timothy (translator).
"Passage Along the Shadow-Line: Farocki and Others: Approaching a Certain Filmkritik Style."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 21:(no pagination). 2002 July-Aug

Pantenburg, Volker
Film als Theorie : Bildforschung bei Harun Farocki und Jean-Luc Godard Bielefeld : Transcript, 2006.
MAIN: PN1995 .P285 2006

Richter, Gerhard
"Harun Farocki and the Cinematic Non-Event." Journal of Visual Culture v. 3 no. 3 (December 2004) p. 367-71
UC users only
"The writer discusses the implications of the filmic images of German-based filmmaker Harun Farocki for an understanding of the concept of 'eventness'. Outlining some of the questions that arise from the concept, he goes on to discuss how such questions constitute a leitmotif that traverses the 60 or so films that Farocki has made since the 1960s. Discussing in particular his edgy 1990 documentary film Leben, BRD (released in the United States as How to Live in the Federal Republic of Germany), comprising 32 scenes recorded during instructional sessions in various German cities, he argues that the test subjects, class participants, and objects of simulation that in Farocki's film prepare ceaselessly for the futurity of what is to come--in a certain sense aim to cancel the eventness of the event." [Art Index]

Richter, Gerhard
"Harun Farocki und das filmische Nicht-Ereignis." In: Asthetik des Ereignisses : Sprache - Geschichte - Medium / Gerhard Richter. Munchen : Wilhelm Fink, 2005
Main Stack BH23.R53 2005

Rosenberg, Karen
"In the eye of the beholder: poetic documentaries about technology." Technology Review Feb-March 1989 v92 n2 p62(7) (2688 words)

Thomas, Allan James.
"Bilder der Welt und Inschrift des Krieges."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 19:(no pagination). 2002 Mar-Apr

Wahlberg, Malin
"Inscription and Re-framing: At the Editing Table of Harun Farocki." Konsthistorisk Tidskrift v. 73 no. 1 (2004) p. 15-26
UCB users only
"An examination of how the photographic trace is thematically treated in the work of filmmaker and video artist Harun Farocki. Farocki stands out as a pioneer in using photographic inscription and re-framing as strategies for media critiques. From the horizon of contemporary media culture, Farocki offers a critical reassessment of predominant notions of photographic representation and of existential concerns with image and memory. In his 2000 video I Thought I Was Seeing Convicts, the "pastness" related to the photographic imprint and the associated relation between image and death meets with non-analog imagery and the real-time recording of surveillance cameras. Archive, the editing table, and montage are major themes in Farocki's critical approach to media culture. In this play with representation and visual technology, the trace is demystified, because Farocki pays heed to the mechanisms of power and selection that are central within the process of producing and preserving image-memories." [Art Index]

Péter Forgács;

Alphen, Ernest van
"Visual Archives as Preposterous History." Art History, Jun2007, Vol. 30 Issue 3, p364-382, 19p
UC users only

Bell, Desmond.
"Shooting the Past? Found Footage Filmmaking and Popular Memory." Kinema, Spring, 2004

Boyle, Deirdre.
"Meanwhile Somewhere?. A discussion with Peter Forgacs." Millennium Film Journal No. 37 (Fall 2001): Idiosyncrasies

Boyle, Deirdre.
"Meanwhile Somewhere?. A discussion with Peter Forgacs." Immediacy: A forum for the discussion of media and culture. [New School for General Studies]

Davis, Whitney
"The World Rewound: Peter Forgács's Wittgenstein Tractatus." Journal of Aesthetics and Art Criticism, vol. 64, no. 1, pp. 199-211, 2006 Winter
UC users only

Feigelson, Kristian.
"Entretien avec Peter Forgacs, 'cinéaste des anonymes'." Positif nr 542 (Apr 2006); p 104-108

Feigelson, Kristian.
"'The Labyrinth': A Strategy of Sensitive Experimentation, a Filmmaker of the Anonymous." KinoKultura February 2008, Issue Special Issue 7

Fisher, Jaimey.
"Home-Movies, Film Diaries, and Mass Bodies: Péter Forgács's Free Fall into the Holocaust." In: Visualizing the Holocaust : documents, aesthetics, memory / edited by David Bathrick, Brad Prager, a Rochester N.Y. : Camden House, 2008.
Main (Gardner) Stacks D804.3 .V57 2008

Forga´cs, Péter.
"Wittgenstein tractactus: personal reflections on home movies." In: Mining the home movie : excavations in histories and memories / edited by Karen L. Ishizuka and Patricia R. Zimmermann. Berkeley : University of California Press, c2008.
Main (Gardner) Stacks PN1995.8 .M56 2008
PFA PN1995.8 .M56 2008

Habib, André
"'It’s Just a Waste of Time to Walk and Play Tennis': Interview with Péter Forga´cs." Rouge, 12 (2008)

Hagedoorn, Berber,
"'Look What I Found!': (Re-)Crossing Boundaries between Public/Private History and Biography/Autobiography in Péter Forgács' The Maelstrom." Studies in Documentary Film, vol. 3, no. 2, pp. 177-192, 2009
UC users only

Kohn, Olivier
"Pages arrachées au livre du temps: Introduction sommaire au travail de Péter Forgács" Positif: Revue Mensuelle de Cinéma, vol. 505, pp. 95-96, 2003 Mar

Nichols, Bill.
"The Memory of Loss: Interview with P. Forgacs." Film Quarterly v. 56 no. 4 (Summer 2003) p. 2-12

"Peter Forgacs; Filmmaker." Film Quarterly, Vol. 52, No. 1. (Autumn, 1998), pp. 60-61.
UC users only

Roth , Michael S.
"Ordinary film: Péter Forgács's The maelstrom." Raritan, Fall2005, Vol. 25 Issue 2, p1-11, 11p
UC users only

Roth , Michael S.
"Ordinary film: Péter Forgács's The maelstrom." In: Mining the home movie : excavations in histories and memories / edited by Karen L. Ishizuka and Patricia R. Zimmermann. Berkeley : University of California Press, c2008.
Main (Gardner) Stacks PN1995.8 .M56 2008
PFA PN1995.8 .M56 2008

Waller, Marguerite R.
"Notes of a Lady." American Historical Review 99.n4 (Oct 1994): 1252(5).

Robert Frank

Alexander, Stuart.
Robert Frank: A Bibliography, Filmography, and Exhibition Chronology, 1946-1985. Tucson, Ariz.: Published by Center for Creative Photography, University of Arizona in association with Museum of Fine Arts, Houston, c1986.
UCB Main TR647.F735.A12 A431 1986

Allan, Blaine
"The making and unmaking of Pull my daisy."Film History Vol II nr 3 (1988); p 185-205

Baecque Ad; Saada, N; Frank, R.
"Interview With Robert Frank."Cahiers Du Cinema, N403;1988; S 5

Carney, Ray. Full-text article on beat generation film by Ray Carney

Glicksman M; Frank R.
"Highway 61 Revisited" (Interview with Robert Frank) > Film Comment V23; N4; 1987; 32-39

Greenough, Sarah.
Robert Frank. Washington: National Gallery of Art; Zurich; New York: SCALO, c1994.
UCB Main TR647 .F74 1994b

Foss K.
"The Beat Generation On Film"(Robert Frank and Alfred Leslie, 'Pull My Daisy' And Conrad Rooks, 'Chappaqua', Two of the Most Important Beatnik-Films Ever Made)Kosmorama V40; N209; 1994; 40

Marcus, Greil.
"Robert Frank: Driving And Crying" (Photographs And Films Of America As A Foreign Land)Artforum, Nov V33; N3; 1994; 52-57

Pioppo M.
"The Films Of Robert Frank - Documentaries And Fiction."Cineforum, V30; N11; 1990; 22-26

Robert Frank: New York to Nova Scotia.
Edited by Anne Wilkes Tucker. Boston: Little, Brown; Houston: Museum of Fine Arts, 1986.
UCB Main TR140.F67 A3 1986

"Ron Rice letter to Robert Frank/Note to Jonas Mekas."Film Culture nr 70-71 (1983); p 156-158

Sterritt, David.
Mad to be saved : the Beats, the '50s, and film / David Sterritt. Carbondale : Southern Illinois University Press, c1998.
Main Stack PS228.B6.S755 1998
Moffitt PS228.B6.S755 1998

Su Friedrich

Cutler, Janet.
"Su Friedrich: breaking the rules ." In: Women's experimental cinema : critical frameworks
Robin Blaetz, editor. Durham : Duke University Press, 2007.
Main (Gardner) Stacks
Pacific Film Archive PN1995.9.E96 W68 2007

Hanlon L.
"Female Rage - The Films Of Su Friedrich." Millennium Film Journal, N12; 1983

Holmlund, Chris.
"Fractured Fairytales and Experimental Identities: Looking for Lesbians in and around the Films of Su Friedrich." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 17 no. 1. 1994 Fall. pp: 16-46.

Holmlund, Chris.
"When Autobiography Meets Ethnography and Girl Meets Girl: The 'Dyke Docs' of Sadie Benning and Su Friedrich." In: Between the sheets, in the Streets: Queer, Lesbian, and Gay Documentary / Chris Holmlund and Cynthia Fuchs, editors. pp: 127-43. Minneapolis: University of Minnesota Press, c1997.
UCB Main P96.D622 U63 1997

Jenkins B.
"Gently Down The Stream'"(The Filmmaking Of Su Friedrich) Millennium Film Journal, N16-1; 1987; 195-198

Kruger, B.
"The Ties that bind." Artforum International v. 23 (October 1984) p. 89

MacDonald, Scott.
A Critical Cinema 2: Interviews with Independent Filmmakers / Scott MacDonald. Berkeley: University of California Press, c1992.
UCB Main PN1995.9.E96 M342 1992

MacDonald, Scott.
"Su Friedrich: reappropriations." Film Quarterly v. 41 (Winter 1987/1988) p. 34-42

Macdonald S.
"From Zygote To Global Cinema Via Su Friedrich's Film" (American Independent Filmmakers) Journal Of Film And Video Spr-Sum V44; N1-2; 1992; 30-41

Macdonald S.
"Su Friedrich: Reappropriations" Film Quarterly V41; N2; 1987; 34-43

Redding, Judith M.
"Damned if you do / Su Friedrich." In: Film fatales : independent women directors / Judith M. Redding and Victoria A. Brownworth. Seattle : Seal Press ; [Emeryville, Calif.] : Distributed to the trade by Publishers Group West, c1997.
Main Stack PN1998.2.R43 1997

Russell, Catherine. "Independents and Independence: Culture as Fiction: The Ethnographic Impulse in the Films of Peggy Ahwesh, Su Friedrich, and Leslie Thornton." In: The new American cinema / edited by Jon Lewis. Durham : Duke University Press, 1998. p353-378, 26p
Main (Gardner) Stacks PN1993.5.U6 N47 1998

Wees, William C.
"Carrying On: Leslie Thornton, Su Friedrich, Abigail Child and American Avant-Garde Film of the Eighties." In: Women and experimental filmmaking / edited by Jean Petrolle and Virginia Wright Wexman. Urbana : University of Illinois, c2005.
Main Stack PN1995.9.E96.W66 2005
PFA PN1995.9.E96.W66 2005

Gary Hill

Plate, S. Brent.
"Between Cinema and a Hard Place: Gary Hill's Video Art between Words and Images." Criticism: A Quarterly for Literature and the Arts, vol. 45, no. 1, pp. 109-27, Winter 2003

Quasha, George; Stein, Charles.
"Liminal Performance." PAJ: A Journal of Performance and Art, vol. 20, no. 1 [58], pp. 1-25, Winter 1998

Quasha, George; Stein, Charles.
"Liminal Performance." In: Conversations on art and performance / edited by Bonnie Marranca and Gautam Dasgupta. Baltimore, Md. : Johns Hopkins University Press, 1999.
Main Stack PN1584.C64 1999

Fernand Léger

Brender, Richard
"Functions of Film: Léger's Cinema on Paper and on Cellulose." Cinema Journal, 24:1 (1984:Fall) p.41 UC users only

Dwoskin, Stephen .
Film Is: The International Free Cinema. Woodstock, NY: Overlook, 1975.
Moffitt PN1995.9.E96.D9

Freeman, Judy .
"Léger's Ballet Méchanique." In: Dada and Surrealist Film / edited by Rudolf E. Kuenzli. New York: Willis, Locker & Owens, c1987.
Main Stack PN1995.9.S85.D341 1987
Moffitt PN1995.9.S85.D34 1987

Leger, Fernand.
Functions of Painting. Translated by Alexandra Anderson. Edited and introduced by Edward F. Fry. New York, Viking Press [1973]
Main Stack N70.L452131 1973

Standish Lawder.
The Cubist Cinema / Standish D. Lawder. New York: New York University Press, 1975.
Moffitt N72.M6.L38
Main Stack N72.M6.L381

Turvey, Malcolm.
"The Avant-Garde and the 'New Spirit': The Case of Ballet mecanique."October. 102:35-58. 2002 Fall

Maurice Lemaitre

Devaux, Frederique.
Le Cinema Lettriste: (1951-1991) / Frederique Devaux; presentation par Christian Lebrat. Paris : Editions Paris experimental, c1992. Series title: Classiques de l'avant-garde 2.
NRLF B 3 913 723

Isou, Isidore.
Critique des Erreurs de Maurice Lemaitre dans la Peinture, le Roman et le Cinema (1956-1978) / Isidore Isou. Ed. en fac-simile du tapuscript original. Paris : Editions M. Lemaitre, c1979. Series title: Documents lettristes ; no 28.
NRLF C 2 859 700

Lemaitre, Maurice.
1967-1969, le cafe-cinema Lemaitre : suivi de Huit filmes lettristes Paris : Paris experimental, 2003.
MAIN: PN1995.9.E96 L372 2003

Lemaitre, Maurice.
Le Cinema Super-experimental / Maurice Lemaitre. Paris, France : Centre de Creativite, c1980.
NRLF C 2 847 303

Lemaitre, Maurice.
Huit Films Lettristes. [Paris] Centre de Creativite [1970].
UCB Main PN1995.9.E96 L371

Lemaitre, Maurice.
Mes Films: 1951-1977 / Maurice Lemaitre. Paris: Centre de creativite, c1977.
NRLF $C 208 529

Maurice Lemaitre
[conception, Jean-Michel Bouhours]. Paris: Editions du Centre Georges Pompidou c1995.
UCB Main N7483.L45 A4 1995

Maurice Lemaitre et le Syncinema.
Paris: Association des cineastes et realisateurs audiovisuels, 1980. Series title: Revue d'histoire du cinema 2e ser., no 1.
NRLF C 2 842 753

Lemaitre, Maurice.
Toujours a l'Avant-garde de l'Avant-garde, Jusqu'au Paradis et au Dela, Film Supertemporel. Paris, "Lettrisme", 1972. Series title: Lettrisme ; 4. ser., no 3, mars 1972.
UCB Main NX600.L4 L4 ser.4, no.3

Len Lye

Chauvin, Jean-Sebastien
"Len Lye, premier cineaste abstrait" Cahiers du Cinema no. 546 (May 2000) p. 20
"The writer discusses the work of the late abstract filmmaker Len Lye on the occasion of a retrospective of his work at the Centre Pompidou, Paris, April 5-30, 2000. Lye is known for his "scratched" and "painted" films representing abstract motifs that move to the rhythm of a music that invites you to dance, such as jazz, African percussion, or Latin American music. The logic of his cinema is that time and its measurement matter less than the sensation of changing colors and the vision of forms subjected to multiple vibrations. In Lye's films, life is defined not by its social or political meaning but by its primitive and original aspects." [Art Index]

Horrocks, Roger.
Len Lye : a biography / Roger Horrocks. Auckland, N.Z. : Auckland University Press, 2001.
Main Stack NX512.L94.H67 2001
PFA PN1998.3.L94.H67 2001 Pacific Film Archive collection; non-circulating

Len Lye [videorecording]
Len Lye, a New Zealand filmmaker was one of the first artists to paint and draw directly on film. His interest in the relationship between light and rhythm led to experiments with moving sculptures he called "tangible motion sculptures." In this program Lye speaks of his work and ideas, demonstrates some "tangibles" and shows clips from his films.
Media Resources Center VIDEO/C 5962

LenLye
sous la direction de Jean-Michel Bouhours, Roger Horrocks ; [textes de] Jonathan Dennis ... [et al.]. Paris : Centre Pompidou, c2000. Cinema quinze x vingt & un.
Main Stack NX512.L94.L46 2000

Lye, Len
Len Lye, A Personal Mythology: Paintings, Steel-motion Compositions, Films. Auckland, N.Z.: Auckland City Art Gallery, 1980.
NRLF C 2 921 203

Lye, Len
Figures of motion : Len Lye, selected writings / editors, Wystan Curnow, Roger Horrocks. Auckland : Auckland University Press : Oxford University Press, 1984.
PFA PN1998.A3.L94.L94 1984 Pacific Film Archive collection; non-circulating

Opray, M.
"Lye,Len And Muller,Sophie - Part Of A Hidden British Cinematic Tradition." Sight And Sound, Jul V1; N3; 1991; 23

Watson, Paul.
"True Lye's (Re)animating Film Studies." Art & Design, v. 12 (Mar./Apr. '97) p. 46-9.
"Part of a special issue on animation. The writer discusses the relationship between animation and live action. Animation cannot be disintricated or expelled from considerations of the live-action film. Animated and photographed forms of cinema are enmeshed in one another, especially with regard to technology, apparatus, and the illusion of movement they create. All cinema needs to be considered as animated because of its articulation through technology and its relationship to motion; all cinema makes its own illusion of life through technology. For example, in Len Lye's 1935 film Colour Box, which involved brushwork and wax-resist techniques used to paint directly onto clear 3 mm film, the iridescent hallucinatory surface invokes a reading strategy that foregrounds the artificial structure of cinematic discourse to the extent that the material identity of the film is no longer a structure subsumed by and into a narrative diagesis, becoming instead the primary focus of fictional attention." [Art Index]

Man Ray

Hedges, Inez
"Constellated Visions: Robert Desnos's and Man Ray's "L'Etoile de Ber"." Dada/Surrealism 15 (1986) 99

Kuenzli, Rudolf E.
"Man Ray's Films: From Dada to Surrealism." In: Avant-garde film / edited by Alexander Graf and Dietrich Scheunemann. Amsterdam ; New York : Rodopi, 2007.
Main (Gardner) Stacks PN1995.9.E96 A89 2007

McCabe, Susan.
"'Delight in Dislocation': The Cinematic Modernism of Stein, Chaplin, and Man Ray." Modernism/Modernity. 8(3):429-52. 2001 Sept
"This article examines the influence of modernist cinema on the works of Gertrude Stein, as well as the influence of her writings on cinematic works, especially those of Man Ray and Charlie Chaplin. Issues include the modernist crisis of representation, the relationship between modern poetry and avant-garde film and how both subordinate plot to 'rhythm'." [Expanded Academic Index]

Rabinovitz, Lauren
"Independent Journeyman: Man Ray, Dada and Surrealist Film-Maker." Southwest Review 64:4 (1979:Autumn) 355

"Robert Desnos's and Man Ray's Scenario for L'Etoile de Mer." Dada/Surrealism 15 (1986) 207

Thiher, Allen
"The Surrealist Film: Man Ray and the Limits of Metaphor." Dada/Surrealism 6 (1976) 18

Chris Marker

Almereyda, Michael
"Deciphering the Future." Film Comment v. 39 no. 3 (May/June 2003) p. 36-7
Part of a special section on director Chris Marker. Chris Marker's new film, Remembrance of Things to Come (Souvenir d'un avenir), examines the period between the wars through the work of French photojournalist Denise Bellon. The film is a virtual rummage sale of Bellon's oeuvre, but its full power comes from Marker's ability to see impending doom in almost every image in her archive.

Alpigiano, Jean-Luc
"L'ordre et le desordre des memoires: Andre Bazin, Chris Marker, Alain Resnais et L'Espece humaine." Cahiers du Cinéma part nouvelle vague special issue (1998) p. 24-8
"Part of a special issue on the New Wave movement in motion pictures. The writer examines French filmmaker Andre Bazin's influence on filmmakers Chris Marker and Alain Resnais. Bazin was a central figure in the New Wave, but a significant part of his thinking--that influenced by Emmanuel Mounier's views on personalism--had an impact on Marker and Resnais, who were working on the margins of the New Wave movement; Bazin's thinking influenced Marker in terms of his focus on the person and Resnais in terms of his emphasis on the human race. The writer examines the context in which the three filmmakers met and discusses the evidence of Bazin's influence in Marker and Resnais's films." [Art Index]

Alter, Nora M.
Chris Marker Urbana : University of Illinois Press, c2006.
PFA : PN1998.3.M362 A48 2006
MAIN: PN1998.3.M366 A48 2006
Table of contents http://www.loc.gov/catdir/toc/ecip061/2005028936.html

"Around the world with Chris Marker. Part I: Lost horizons."Film Comment Vol XXXIX nr 3 (May-June 2003); p 31-50
Comprehensive look at the work of French filmmaker Chris Marker; incl. articles on his thematic and technological preoccupations, interview, and discussions of specific films.

"Around the world with Chris Marker: part II: time regained."Film Comment Vol XXXIX nr 4 (July-Aug 2003); p 31-50
Second part of a comprehensive look at the work of French filmmaker Chris Marker. Incl. discussions of his films, an annotated filmography, an overview of his literary work (with a selected bibliography), and a look at his first CD-ROM.

Arthur, Paul
"Kino-eye."Film Comment Vol XXXIX nr 4 (July-Aug 2003); p 32-34
"Part of a special section on the work of Chris Marker. Born in the afterglow of the Bolshevik Revolution, Marker drew visual heat and intellectual light from the legacy of early Soviet cinema. Working exclusively in the sphere of documentary, he rephrased what could be gleaned from the idolects and living careers of Eisenstein, Vartov, Medvedkin, and others. Affinities between Soviet film and Marker's work and its position within contemporary political art are numerous, embedded in brief casual allusions and amplified into full-length essayistic treatments. The writer discusses examples of the influence of Soviet cinema in films by Marker, including Letter from Siberia, One Day in the Life of Andrei Arsenevich, The Train Rolls On, and The Last Bolshevik." [Art Index]

Bazin, Andre; Kehr, Dave, tr
"Bazin on Marker." Film Comment v. 39 no. 4 (July/August 2003) p. 44-5
"Part of a special section on the work of Chris Marker. An article is presented that first appeared in the October 20, 1958, issue of France-Observateur. Marker has profoundly changed the visual relationship between text and image. He is the writer of narrations for Resnais' Bibliotheque Nationale (Toute la memoire du monde) and Statues Also Die, incisive, powerful texts in which cutting irony plays hide and seek with poetry. These alone are enough to secure him a privileged position in the field of short filmmaking, but his ambition was even more radical, and it has become necessary for him to make his own films. First came Sunday in Peking, winner of a prize at the 1956 Festival of Tours, and more recent is the extraordinary Letter from Siberia, in which Marker's dialectic between word and film grows to the dimensions appropriate to a feature film and takes the weight." [Art Index]

Bouquet, Stephane
"Chris Marker, dans le regard du chat." Cahiers du Cinema no. 522 (March 1998) p. 58-61
"The films and career of American film director Chris Marker are discussed. Throughout his 40-year career, Marker has made both short and feature films, video installations, and even a CD-ROM. Categorizing Marker's work into explorations of themes such as manipulation, women, war, disaster, and memory, the writer discusses his first video installation, Zapping Zone, and a number of his films, including La Jetée, Level Five, Sans Soleil and Le Fond de l'air est rouge, a film-essay on the political movements of the 1960s and 1970s." [Art Index]

Chaiken, Michael
"Printed Matter." Film Comment v. 39 no. 4 (July/August 2003) p. 42-3
"Part of a special section on the work of Chris Marker. Biographical information on Marker is contradictory and vague until the end of the 1940s. At this time, he embarked on a serious career as writer, releasing a number of books and publishing articles, essays, poems, translations, and short stories in a wide variety of French periodicals between 1947 and 1953, mainly DOC and Esprit. Few of these works have been reprinted since they originally appeared and are now almost completely unknown, but they shed significant light on Marker's subsequent work. Most impressively, they demonstrate that a dual commitment to visionary aesthetics and social engagement was already in place before Marker began his film career. The writer examines these writings and how they relate to Marker's films, and a selected bibliography is provided." [Art Index]

Chris Marker: retorno a la inmemoria del cineasta
Andre Bazin ... [et al.] ; una edicion a cargo de Nuria Enguita Mayo, Marcelo Exposito, Esther Regueira Mauriz. [Valencia] : Ediciones de la Mirada, c2000.
PFA : PN1998.3.M362 C47 2000

"Chris Marker: truth, first person singular."Art Press no. 224 (May 1997) p. 48-51
"The film work of the writer, essayist, photographer, and filmmaker Chris Marker is discussed. From his very first films, Marker has employed the technique of technical crossover begun by Soviet Agitprop, in which images of the real are interlaced with various interventions such as photographic montages, postcards, newspaper cuttings, and comic-strip sketches. This is accompanied by his characteristic use of the voice-over technique to generate ideas. Marker is not a proponent of the postmodern emphasis on the division between words and images; the voice lends his films depth. Always seeking new means of approaching the visual textures of reality in his films, Marker employs electronic media to transform the images, and, over the years, his films have become veritable multimedia complexes. A discussion of his most recent works, the film Level Five and the CD-ROM and video project Immemory, completes the article." [Art Index]

"Le Cinéma Retrouve: Dans la Lumiere Noire de Chris Marker." Cahiers du Cinema no. 585 (December 2003) p. 122-31
A special section marking the addition of Chris Marker's film Sans Soleil (Sunless, 1983) to the 2004 Baccalaureat curriculum in France. Articles discuss the film, its concept of the image, and how the film can be used as an educational tool.

Coates, Paul
"Chris Marker and the Cinema as Time Machine." Science Fiction Studies, Vol. 14, No. 3, Science-Fiction Film (Nov., 1987), pp. 307-315
UC users only

Cooper, Sarah
Selfless cinema? : ethics and French documentary Oxford : Legenda, 2006.
MAIN: PN1995.9.D6 C66 2006

Darke, Chris
"Eyesight." Film Comment Vol XXXIX nr 3 (May-June 2003); p 48-50
Discusses Chris Marker's films of the late 1950's and early 1960's, and his exploration of two elementary aspects of film language, the look and the cut.

Darke, Chris
"The invisible man."Film Comment Vol XXXIX nr 3 (May-June 2003); p 32
Part of a special section on director Chris Marker. Chrsi Marker is "unclassifiable" because of the mutifaceted nature of his work and because he has been able to make himself virtually invisible. Marker's oeuvre has included films of varying lengths for the cinema, television documentaries, collective films, written commentaries for other filmmakers, and multimedia and video work.

Douhaire, Samuel; Rivoire, Annick
"Marker Direct: A Rare Interview with One of Cinema's Most Secretive Filmmakers." Film Comment v. 39 no. 3 (May/June 2003) p. 38-41
UC users only
Part of a special section on director Chris Marker. In an interview, originally published in the March 5, 2003, issue of Liberation, Marker discusses such topics as how and why he decided to agree to the DVD release of La Jetée and Sans Soleil, La Jetée's continuing influence, and television.

Erickson, S. "Chris Marker." [Obituary] Cineaste v. 31 no. 1 (Winter 2005) p. 76-7
UC users only

French, Patrick
"The Immanent Ethnography of Chris Marker, Reader of Proust." Film Studies 6 (Summer 2005) p. 87-96
UC users only

"Filmic Memories: Chris Marker: Filmmaker." Film Quarterly 52:1: [Fall 1998] p. 66
Provides commentary by the filmmaker who describes his early exposure to film. Recalls the Path?roma and notes his interest in film production as a youth. Included in a series of memoirs by filmmakers, critics, scholars, and writers who discuss their love for film.

Gaggi, S.
"Marker and Resnais: myth and reality." Literature/Film Quarterly Vol VII nr 1 (1979); p 11-15
Compares themes and styles in films by Chris Marker and Alain Resnais.

Hampton, Howard
"Anatomies of melancholy." In: Born in flames : termite dreams, dialectical fairy tales, and pop apocalypses / Howard Hampton. Cambridge, Mass. : Harvard University Press, 2007.
Main Stack PN1995.H238 2007

Hampton, Howard
"Remembrance of revolutions past." Film Comment Vol XXXIX nr 3 (May-June 2003); p 33-35
Discusses filmmaker Chris Marker's preoccupation with history and memory.

Hilliker, Lee
"The history of the future in Paris: Chris Marker and Jean-Luc Godard in the 1960s." Film Criticism v. 24 no. 3 (Spring 2000) p. 1-22
UC users only
"Two 1960s films that speculate on the future of French society--Chris Marker's La Jetée (1962) and Jean-Luc Godard's Alphaville (1965) --are discussed. Marker created his film, a half-hour meditation on time travel, the image, and death, using only black-and-white still photographs. His work wraps a severe and highly allusive critique of contemporary French culture in a genre hybrid that borrows codes from documentary and science fiction, a process that effectively renders the film's threat unrecognizable. Alphaville is a noir/science-fiction hybrid that transposes Godard's social critique into an allusive, traumatized futuristic version of contemporary Paris, while sidestepping direct representation of contemporary political material. Both films construct allusive and imaginative cinematic critiques that are rife with references to ideas of individual and social control and repression, both in relation to the image and to natural language." [Art Index]

Horak, Jan-Christopher.
"Chris Marker's reality bytes." (Surface and Illusions: Ten Portfolios) Aperture, Fall 1996 n145 p60(6)
"Filmmaker and photographer Chris Marker treats film and photography similarly in his work because they are processed similarly in human memory and imagination. Many of his films are filled with still images, just as there is an element of motion in his photos. Essays and scripts which accompany his works are often juxtaposed with images in what appears to be a disorderly fashion. Marker believes the text will be appropriately constructed through the viewer's subconscious and thus provide meaning to each individual." [Expanded Academic Index]

Howe, Susan.
"Sorting Facts: Or, Nineteen Ways of Looking at Marker." In: Beyond Document: Essays on Nonfiction Film. / edited by Charles Warren. pp.: 295-343. Hanover, NH: University Press of New England, c1996.
UCB Main PN1995.9.D6 B48 1996
UCB Moffitt PN1995.9.D6 B48 1996

Jacob, G.
"Chris Marker and the mutants."Sight & Sound v. 35 no. 4 (Autumn 1966) p. 164-8

James, Clive.
"Chris Marker." In: Cultural amnesia : notes in the margin of my time / Clive James. London ; New York : Picador, 2007.
Main Stack CB245.J339 2007

Kear, Jonathan
"The Clothing of Clio: Chris Marker's Poetics and the Politics of Representing History." Film Studies 6 (Summer 2005) p. 49-63
UC users only

Langford, Barry
"'So Intensely Historical': Spectres of Theatre, Phantoms of Revolution in Marx and Marker." Film Studies 6 (Summer 2005) p. 64-73
UC users only

Lee, Min
"Red skies." Film Comment Vol XXXIX nr 4 (July-Aug 2003); p 38-41
UC users only
"Part of a special section on the work of Chris Marker. From 1967 to 1976, Marker worked anonymously within SLON, or Societe pour le Lancement d'Oeuvres Nouvelles, one of a number of militant collectives that sprang up in France's politicized film culture. During this period, he produced more than a dozen titles with SLON, either as a director or editor, and these fall more or less into three categories, thematically: films concerned with French political struggle, those involving so-called Third World issues, and those relating to the Soviet Union. From direct documentary and compilation films to portraiture, these works reintroduce something that originates with the classical political cinema of Eisenstein and Vertov, namely, the presence of the people. An overview of Marker's SLON films is presented." [Art Index]

Liandrat-Guigues, Suzanne; Leutrat, Jean-Louis
"A bientot." (Nous esperons).Positif nr 478 (Dec 2000); p 62-64
Analyses the common points in films by Chris Marker and Agn?s Varda.

Lindroos, Kisa
"Aesthetic political thought: Benjamin and Marker revisited." (Walter Benjamin, Chris Marker) Alternatives: Global, Local, Political March-May 2003 v28 i2 p233(20) (8464 words)
UC users only

Lopate, Phillip
"In Search of the Centaur: The Essay-Film." The Threepenny Review, No. 48 (Winter, 1992), pp. 19-22
UC users only

Lupton, Catherine
"Imagine Another: Chris Marker as a Portraitist." Film Studies 6 (Summer 2005) p. 74-80
UC users only <

Lupton, Catherine
"Chris Marker: The Art of Memory" Film Studies 6 (Summer 2005) p. 46-48
UC users only

Lupton, Catherine
Chris Marker : memories of the future London : Reaktion Books, 2005.
MAIN: PN1998.3.M366 L87 2005
PFA : PN1998.3.M362 L87 2005

Lupton, Catherine
"Shock of the old." Film Comment Vol XXXIX nr 3 (May-June 2003); p 42-45
Examines filmmaker Chris Marker's relationship with technology in the digital era.

Lupton, Catherine; DiIorio, Sam; Lee, Min
"Total Recall." Film Comment v. 39 no. 4 (July/August 2003) p. 41, 45, 47, 49-50
Part of a special section on the work of Chris Marker. An annotated filmography contains listings for film, video, and multimedia works by Marker.

Marker, Chris.
Commentaires. [Paris]: Aux Editions du Seuil, c1961-
UCB Main PN1995.9.D6 M26
Marker, Chris. Coreennes. [S.l.]: Aux Editions du Seuil, 1959.
UCB Main DS902 .M3

Marker, Chris Staring back Cambridge, MA : MIT Press, 2007.
PFA : TR647 .M3626 2007; RBR

Moller, Olaf
"Ghost world." Film Comment Vol XXXIX nr 4 (July-Aug 2003); p 35-37
UC users only
"Part of a special section on the work of Chris Marker. Japan has a special meaning for Marker, whose oeuvre is packed with films and videos made there or referring to or imagining the country's culture and history. His earliest exploration was The Mystery of Koumiko, made during the 1964 Tokyo Olympics, and some 20 years later he entered what might be termed his Japanese phase, when he transformed himself from an analog filmmaker into a digital media artist. This period began with Sans soleil, in which Japan becomes preeminent and the rest of the world exists in its shadow, and was followed by A.K., about the making of Akira Kurosawa's Ran. The phase concludes with Level Five, which begins with a quest to find an alternative outcome to a video game programmed to follow the historical facts of the Battle of Okinawa during World War II. Japan also crops up in minor works by Marker." [Art Index]

Murphy, Jay
"More of What It Is: Catching Up with Chris Marker." Afterimage v. 33 no. 2 (September/October 2005) p. 31-3, 36-7
UC users only
"A discussion of the work of Chris Marker as filtered through Catherine Lupton's book Chris Marker: Memories of the Future. Lupton's study is, remarkably, the first full English treatment of Marker's prodigious output over a span of some nearly 60 years, during which time he has made feature films, films, videos, video installations, and Internet and multimedia pieces. Lupton is judicious in her examination of Marker's consistent if highly personal political commitments, granting him the greater insight gleaned from his impressionistic travelogs. Lupton does not so much subordinate Marker's political aspects as reveal how constant the broader, interweaving themes of memory and perception remain in practically all of his work, closely combined with a fascination with different cultures' treatment of the phenomenon of death. Chris Marker's installation OWLS AT NOON Prelude: The Hollow Man is at the Museum of Modern Art, New York, from April 27 to June 13, 2005." [Art Index]

Murray, Timothy
"More of What It Is: Catching Up with Chris Marker." Afterimage v. 33 no. 2 (September/October 2005) p. 31-3, 36-7
UC users only

Murray, Timothy
"Wounds of Repetition in the Age of the Digital: Chris Marker's Cinematic Ghosts." Cultural Critique, No. 46, Trauma and Its Cultural Aftereffects. (Autumn, 2000), pp. 102-123.
UC users only

Petit, Chris.
"Insane Memory." (Chris Marker's reference to Hitchcock's 'Vertigo') Sight and Sound v4, n7 (July, 1994):13.
"Chris Marker's films seek to capture the complexity of mind and memory, a major focus of Alfred Hitchcock's 'Vertigo,' which Marker held in high esteem. Marker's consistent reference to 'Vertigo' in his works reveal his curiosity to the working of the human mind. Marker's films portray the dichotomy between the observed world and the inner world, revealing the influence of Hitchcock's films." [Expanded Academic Index]

Recherches sur Chris Marker
Sous la direction de Philippe Dubois.[Paris?] : Presses Sorbonne nouvelle, 2002.
MAIN: PN1998.3.M366 R434 2002

Roud, Richard
"Left bank."Sight & Sound v. 32 no. 1 (Winter 1962-1963) p. 24-7

Roud, Richard
"SLON." Sight & Sound Vol XLII nr 2 (Spring 1973); p 82-83
A summary of the activities and the films of the French group headed by Chris Marker with a review of its documentary on Medvedkin.

Van Wert, W.F.
"Chris Marker: the SLON films {Societe pour le lancement des oeuvres nouvelle}."Film Quarterly v. 32 no. 3 (Spring 1979) p. 38-46

A Grin Without a Cat

Arthur, Paul
"Making history."Film Comment Vol XXXVIII nr 3 (May-June 2002); p 33
UC users only
"The rerelease of Chris Marker's scintillating account of the rise and fall of the New Left, A Grin Without a Cat, is a doubly important event. Marker is the doyen of the nonfiction essay-film and has been creating such pieces since Letter from Serbia in 1958, mapping the form's possibilities and limits with unfaltering vigor, poetic elegance, and sly humor. He has also joined cinema's tiny cadre of directors who are in their 80s. Completed in 1977, the original four-hour French production of A Grin Without a Cat was "reactualized" in 1993 after the Soviet Union's collapse. The English version is shortened by an hour but still brims with enough footage, interviews, and verbal and visual analysis to launch a festival of documentaries." [Art Index]

Fletcher, Yael Simpson; Persaud, Nalini
"Scenes from the Revolution: A Dialogue on Film, Politics, and History." Radical History Review; Winter2005 Issue 91, p171-181, 11p
UC users only

Hampton, Howard.
"Remembrance of revolutions past." Film Comment. May/Jun 2003. Vol. 39, Iss. 3; pg. 33
UC users only

Kehr, Dave
"The new left, from fiery to fading." (The Arts)('A Grin Without a Cat') (movie review) The New York Times May 1, 2002 pB8(N) pE8(L) col 1 (16 col in)

Kelleher, Ed.
"A Grin Without a Cat." (movie review) Film Journal International June 2002 v105 i6 p44(1) (300 words)

Klawans, Stuart
"The Days of May." (A Grin Without a Cat) The Nation May 13, 2002 v274 i18 p34 (1774 words)

Krivoshey, Ryan
"A grin without a cat." (Short Takes). (Brief Article) Cineaste Summer 2002 v27 i3 p64(2)
UC users only

La Jetée

Articles about Twelve Monkies (Terry Gilliam)

Bensmaia, Reda.
"From the Photogram to the Pictogram: On Chris Marker's La Jetée." Camera Obscura: A Journal of Feminism, Culture, and Media Studies, vol. 24. 1990 Sept. pp: 139-61.
Narrative analysis of the short film.

Callenbach, E.
"La Jetée."Film Quarterly v. 19 no. 2 (Winter 1965-1966) p. 50-2

Coates, Paul.
"Chris Marker and the Cinema as Time Machine." Science-Fiction Studies, vol. 14 (3) no. 43. 1987 Nov. pp: 307-315.

Douhaire, Samuel; Rivoire, Annick
"Marker direct."Film Comment Vol XXXIX nr 3 (May-June 2003); p 38-41
Chris Marker talks about DVD technology, the democratization of the tools of filmmaking, television, and the cult status of his film "La Jetée". Originally published in 'Liberation' on March 5, 2003.

Friedlander, Eli.
"La Jetée: Regarding the Gaze."Boundary 2: A Journal of Postmodern Literature and Culture. 28 (1): 75-90. 2001 Spring.
UC users only

Ffrench, Patrick.
"The Memory of the Image in Chris Marker's La Jetée." French Studies. Oxford: Jan 2005. Vol. 59, Iss. 1; p. 31

Hilliker, Lee
"The history of the future in Paris: Chris Marker and Jean-Luc Godard in the 1960s." Film Criticism Vol XXIV nr 3 (Spring 2000); p 1-22
Examines two futuristic visions created in France in the 1960s by Chris Marker and Jean-Luc Godard

Kawin, Bruce
'Time and stasis in La Jetée."Film Quarterly Vol XXXVI nr 1 (Fall 1982); p 15-20
A detailed thematic and technical analysis of "La jet?e".

Lee, Sander.
"Platonic Themes in Chris Marker?s La Jet?e."Senses of Cinema, Issue No. 4, March 2000

Mansfield, Charlie.
"Identity and Narration in Chris Marker's La Jetée, and the Appearance of the Internet as a Symptom of Cold War Anxiety." In: Time, narrative & the fixed image = temps, narration & image fixe / edited by = sous la direction de Mireille Ribiere, et al. pp: 179-84 Amsterdam ; Atlanta, GA : Rodopi, 2001. Faux titre ; no 208
Main Stack N7475.T65 2001

Orlow, G.U.
"Photography as cinema: La Jetée and the redemptive powers of the image."Creative Camera no. 359 (August/September 1999) p. 14-17
"The continuing appeal of Chris Marker's short science-fiction film, La Jetée, surely stems from its fascinating balancing act on the thin line between photography and film. Composed almost entirely from still images, the film tells the story of a man who survives a future nuclear World War III before being used in time experiments. The film defies the binary opposition between photography and film, past and present, death and life, and the fossil and the mummy by using images that are both cinematic and photographic; the still images of the film are, as photographs, profoundly cinematic, and they are arranged in sequences created using filmic styles." [Art Index]

Penley, C.
"Time travel, primal scene, and the critical dystopia." In: Close encounters : film, feminism, and science fiction / Constance Penley ... [et al.], editors. Minneapolis : University of Minnesota Press, c1991.
Main Stack PN1995.9.S26.C57 1991

Pollock, G.
"Dreaming the Face, Screening the Death: Reflections for Jean-Louis Schefer on La Jetée." Journal of Visual Culture v. 4 no. 3 (December 2005) p. 287-305
"Drawing on Cathy Caruth's reading of trauma in Lacan's interpretation of the burning child dream in Freud's Interpretation of Dreams, this article offers a feminist response to Jean-Louis Schefer's study of Chris Marker's canonical film on time and memory: La Jetée. The question of the trauma of life and awakening is shifted by a non-phallic, matrixial reading that attends to a haunting sense of presence. One vision sees the subject as traumatically quickened to a living that is forever haunted by what it cannot remember, trapped into a return that will take it forward to its death. A different vision senses some supplementary dimensions of the subject that is never a purely solitary One, outcast from an originary unity, but is co-emergent, traumatically (as any encounter with the real must be) in tune with, and witness to, all the burdens and hurts of the Other that must be shared. The article suggests, therefore, that the grace of this deeply fetishistic, psychically masculine film, nonetheless, lies at a psychic level only just emerging into theorization on the far border of Lacan's poetic revision of psychoanalysis through the feminist attentiveness to, and desire to know of, a sexual difference in, of and from the feminine." [Art Index]

Sandro, Paul.
"Singled Out by History: La Jetée and the Aesthetics of Memory."French Cultural Studies. 10 (1 (28)): 107-27. 1999 Feb.
UC users only
"The film 'La Jetée' by Chris Marker explores the role of memory in constructing personal history and in relating the personal to the collective. A critique of historical representation is implicit in this film and conveyed more explicitly in Marker's other films. The film uses a science fiction narrative about the aftermath of a nuclear holocaust to reflect on time, memory, history, and desire." [Expanded Academic Index]

Le Joli mai

DiIorio, Sam
"The truth about Paris."Film Comment Vol XXXIX nr 3 (May-June 2003); p 46-47
"Part of a special section on director Chris Marker. Chris Marker and Pierre Lhomme's 1963 film Le Joli mai is a tender portrait of Paris and is one of the key works about the French reaction to the Algerian war. As a far-reaching meditation on the relationship between the individual and society, Le Joli mai corresponds to the leftist social vision that is elaborated in much of Marker's later work. At around two hours, the U.S. version of the film is over 30 minutes shorter than the French version. In the U.S. version, several scenes from the French version have been trimmed, and others completely eliminated, making the U.S. print a much less political film. The writer discusses Le Joli mai." [Art Index]

Marker, Cynthia.
"Self-Censorship and Chris Marker's Le Joli Mai."French Cultural Studies. 12 (1 (34)): 23-41. 2001 Feb.
UC users only
"Chris Marker's 1962 documentary film, 'Le Joli Mai,' is examined as a self-censored protest against the Algerian War. The film-maker uses self-censorship to avoid the topic of war, while suggesting France's repressed memory of the conflict." [Expanded Academic Index]

Lettre de Siberie

Bazin, Andre
"Bazin on Marker."Film Comment Vol XXXIX nr 4 (July-Aug 2003); p 44-45
Looks at Chris Marker's film "Lettre de Sib?rie" (Letter from Siberia). Originally published in 'France-Observateur', October 30, 1958.

Marker, Cynthia.
"Self-censorship and Chris Marker's 'Le Joli Mai.' French Cultural Studies Feb 2001 v12 i1 p23(19)

Moran, James M.
"A Bone of Contention: Documenting the Prehistoric Subject." In: Collecting visible evidence / Jane M. Gaines and Michael Renov, editors. pp: 255-73 Minneapolis : University of Minnesota Press, c1999. Visible evidence ; v. 6
Main Stack PN1995.9.D6.C535 1999

Level Five

Jousse, Thierry
"Level five." Cahiers du Cinema no. 510 (February 1997) p. 60-2
"A review of Chris Marker's latest film Level Five. A dense science-fiction puzzle at first glance, the film can be viewed in a number of different ways as it links a host of ideas and images that can, at times, be confusing. It deals with screens, brains, memories, times, thoughts, and effects through two main characters who connect through the construction of a computer game based on the World War II battle at Okinawa. Level 5 is an unusual and highly stimulating film." [Art Index]

Lupton, Catherine.
"Terminal Replay: Resnais Revisited in Chris Marker's Level Five."Screen. 44 (1): 58-70. 2003 Spring.
"Alain Resnais's celebrated 1959 film, Hiroshima mon amour, is revisited in Chris Marker's latest feature film, Level Five. In the latter film, a character known as Laura seeks a way of describing her feeling of identification with the suffering of the population of Okinawa, Japan, which became the site of the last and most savage battle of World War II in 1945, naming her personal tragedy "Okinawa, mon amour." In this moment of naming and the shared device of a double narrative that connects the private trauma of a Frenchwoman with appalling events in Japan's wartime past, the film alludes to Resnais's film. This homage confirms the recontinuing relevance of Hiroshima mon amour''s Modernist take on the ambiguities of historical representation while registering what has changed, in historical context as well as the textual and technological potential of cinema, in the approximately 40 years that separate the two films." [Art Index]

Lupton, Catherine.
"Shock of the Old." Film Comment. May/Jun 2003. Vol. 39, Iss. 3; pg. 42
UC users only

Romney, Jonathan .
"Level 5." (Review) New Statesman April 26, 1999 v128 i4433 p36(2) (922 words)

Smith, Gavin
Straight to film."Film Comment Vol XXXIII nr 4 (July-Aug 1997); p 54-55
On the aesthetic impact of video on film and the filmmaking process, discusses recent works such as "Level five" and "La rencontre" which are relevant to these issues.

Turim, Maureen.
"Virtual Discourses of History: Collage, Narrative or Documents in Chris Marker's Level 5."Sites: The Journal of Twentieth Century Contemporary French Studies. 4 (2): 367-83. 2000 Fall.
UC users only

Remembrance of Things to Come (Souvenir d'un avenir)

Almereyda, Michael
"Deciphering the future."Film Comment Vol XXXIX nr 3 (May-June 2003); p 36-37
Discusses the video "Souvenir d'un avenir" ("Remembrance of things to come"), a portrait of Denise Bellon, French photojournalist and world traveler in the 1930's.

Mitchell, Elvis
"Anticipating Dreams In Captured Moments." (The Arts/Cultural Desk)(''Remembrance of Things to Come'')(Movie Review) The New York Times May 28, 2003 pE3 col 03 (22 col in)

Thomson, David
"Chris Marker: Already Living in Film's Future." (Arts and Leisure Desk)(filmmaker's latest, 'Remembrance of Things to Come,' and other of his films to show at Anthology Film Archives, NYC) . The New York Times June 1, 2003 pAR26 col 01 (28 col in)

Sans Soleil

Barr, Burlin.
"'Wandering with Precision': Contamination and the Mise-en-Scene of Desire in Chris Marker's Sans Soleil." Screen. 45 (3): 173-89. 2004 Autumn.
"Chris Marker's Sans soleil (1982) is a film that resembles at times a documentary, a work of fiction, and a work of ethnography. Through its generic and disciplinary instability it offers an elucidation of the textual models by which spectators are taught to interpret material as cultural, as historical, as personal, presenting a self-reflexive vision of cultural identity. The writer goes on to discuss how the film alternates between three different kinds of textual address that confront the possibility of the radical loss of self: ethnographic text, travelogue and lyrical reflection. He concludes that the film's orientation within hybrid genres enunciates the interfering structures and misalignments which contribute to what it calls a "vertigo of space and time": the vertigo of time resulting from the eruption of nostalgia and personal memory into historical discourses, and the vertigo of space marked by the intrusion of the "foreign" into spaces of sanctuary." [Art Index]

Casebier, A.
"A deconstructive documentary."Journal of Film and Video Vol XL nr 1 (Winter 1988); p 34-39
"Sans soleil" functions both as a documentary and as a deconstruction of its conventional form.

Coleman, John
"Sans soleil." (movie reviews) New Statesman June 29, 1984 v107 p28(1)

Eisen, K.
"Sans soleil."Cineaste Vol XIV nr 2 (1985); p 44

Frodon, Jean-Michel; Beghin, Cyril
"La lumiere noire de "Sans soleil"."Cahiers du Cin?ma nr 585 (Dec 2003); p 122-131
Special dossier on Chris Marker's "Sans Soleil". Incl. comments on the pedagogic aspects of the film.

Mavor, Carol.
"Happiness With A Long Piece Of Black Leader: Chris Marker's Sans Soleil." Art History, Nov2007, Vol. 30 Issue 5, p738-756, 19p

Montero, David.
"Film also ages: time and images in Chris Marker's Sans soleil." Studies in French Cinema, 2006, Vol. 6 Issue 2, p107-115, 9p
UC users only

Ostor, Akos
"Sans soleil." (movie reviews) . American Anthropologist Dec 1987 v89 n4 p1022(2)

Rafferty, Terrence
"Marker changes trains." Sight & Sound Vol LIII nr 4 (Autumn 1984); p 284-288
Discussion of C.M.'s work, in particular "Sans soleil".

Robinson, Benjamin
"Against Memory as Justice." New German Critique; Summer2006 Issue 98, p135-160, 26p
UC users only

Rouch, Jean. Akomfrah, John. Joseph, Clare.
"Culture and Representation.: In: The Undercut reader : critical writings on artists' film and video / edited by Nina Danino and Michael Maziere. pp: 131-35 London ; New York : Wallflower, 2003.
Main Stack PN1995.9.E96.U52 2003

Smith, Murray
"Film Art, Argument, and Ambiguity." Journal of Aesthetics & Art Criticism; Winter2006, Vol. 64 Issue 1, p33-42, 10p
UC users only

Tryon, Chuck.
"Letters from an Unknown Filmmaker: Chris Marker's Sans Soleil and the Politics of Memory." Rhizomes: Cultural Studies in Emerging Knowledge. 8: 34 paragraphs. 2004 Spring.

Jonas Mekas

Barrett, G.R.
"Jonas Mekas interview." Literature/Film Quarterly Vol I nr 2 (Spring 1973); p 103-112
J.M. discusses the New American Cinema, his own approach to film criticism, and the validity of adaptations.

Blouin, Patrice
" Les iliminations de Mekas." Cahiers du Cin?ma nr 559 (July-Aug 2001); p 24-25
Notes on Jonas Mekas' latest film incl. excerpts from an interview with the director.

Camper, Fred
"He Stands in a Desert Counting The Seconds of His Life."Senses of Cinema.

Chodorov, Pip et al.
"Jonas Mekas film and videography."Senses of Cinema
UC users only

Cuevas, Efrén.

"The Immigrant Experience In Jonas Mekas's Diary Films: A Chronotopic Analysis Of Lost, Lost, Lost." Biography. Winter 2006. Vol. 29, Iss. 1; p. 54 (21 pages)
UC users only

Frye. Brian.
"Interview With Jonas Mekas."Senses of Cinema
UC users only

Holden, Stephen
"The World and Beyond: Personal Perspectives." (Arts & Ideas/Cultural Desk)(films of Jonas Mekas, at New York Film Festival) The New York Times Oct 18, 2003 pB16 col 01 (18 col in)

Lehner, Marla
"Jonas Mekas the Filmmaker Re-Emerges: Diaries of a Serial Filmer." Independent Film and Video Monthly. 24 (9): 26-27. 2001 Nov.

Macdonald S.
"Interview With Jonas Mekas." October, N29; 1984

Macdonald S.
"Lost Lost Lost Over 'Lost Lost Lost'."Cinema Journal, V25; N2; 1986; 20-34

Renov, Micahel.
"'Lost Lost Lost': Mekas as Essayist." In: Film and Literature: An Introduction and Reader / Timothy Corrigan. pp: 318-339. Upper Saddle River, N.J.: Prentice Hall, c1999.
UCB Moffitt PN1995.3 .C68 1999

Rice R.
"Note To Jonas Mekas." Film Culture, N70-7; 1983

"Ron Rice letter to Robert Frank/Note to Jonas Mekas." Film Culture nr 70-71 (1983); p 156-158

Rollet, Patrice
"Les exils de Jonas Mekas."Cahiers du Cin?ma nr 463 (Jan 1993); p 68-72
Since his arrival in the USA from Lithuania in 1949, Jonas Mekas has filmed the everyday events of his life; a Paris-based retrospective of such work will screen the entire cycle known as "Diaries notes and sketches volume I Lost lost lost".

Rosen M.
"Jonas Mekas." Artforum, Sep V35; N1; 1996; 118

Ruoff J.K.
"Home Movies Of The Avant-Garde - Jonas Mekas and The New-York Art World."Cinema Journal, V30; N3; 1991; 6-28

Sitney, P. Adams.
"Three filmmakers as Culture Heroes." Yale Review v82, n4 (Oct, 1994):102 (19 pages).

Taubin, Amy
"An avant-garde master finds art in the everyday." (filmmaker Jonas Mekas). The New York Times Dec 9, 2001 pAR30(N) pAR30(L) col 1 (25 col in)

Taubin, Amy
"Footage fetish: Amy Taubin on Jonas Mekas." (FILM)(Critical Essay) Artforum International May 2005 v43 i9 p45(1) (1011 words)

Tomkins, Calvin.
"All Pockets Open."The New Yorker, Jan. 6, 1973

To Free the Cinema: Jonas Mekas & the New York Underground /
Edited by David E. James. Princeton, N.J.: Princeton University Press, c1992.
Main Stack PN1998.3.M44.T6 1992

Wees W. C.
"To Free To Cinema - Jonas Mekas And The New-York Underground." Film Quarterly, Sum V46; N4; 1993; 56-57

Tracey Moffatt

Baron, Cynthia.
"Films by Tracy Moffatt: Reclaiming First Australians' rights, celebrating women's rites." Women's Studies Quarterly. Spring 2002. Vol. 30, Iss. 1/2; p. 151 (27 pages)
UC users only

Bell, Diane.
"Person and place: Making meaning of the art of Australian indigenous women." Feminist Studies. Spring 2002. Vol. 28, Iss. 1; p. 95 (34 pages)
UC users only

Columpar, Corinn.
"The gaze as theoretical touchstone: The intersection of film studies, feminist theory, and postcolonial theory." Women's Studies Quarterly.Spring 2002. Vol. 30, Iss. 1/2; p. 25 (20 pages)
UC users only

French, Lisa
"An Analysis of Nice Coloured Girls (Tracey Moffatt)." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 5, pp. (no pagination), April 2000

Kaplan, E. Ann.
"The Ethics Of Witnessing: Maya Deren And Tracey Moffatt." In: Trauma culture : the politics of terror and loss in media and literature New Brunswick, N.J. : Rutgers University Press, c2005.
MAIN: PN1995.9.T46 K37 2005;
Full-text of this chapter (UCB users only)

Kaplan, E. Ann
"Trauma, Aging, and Melodrama (With Reference to Tracey Moffatt's Night Cries)." In: Feminist locations : global and local, theory and practice / edited by Marianne DeKoven. New Brunswick, NJ : Rutgers University Press, c2001.
Main Stack HQ1190.F4534 2001

Kaplan, E. Ann
"Trauma, Cinema, Witnessing: Freud's Moses and Monotheism and Tracey Moffatt's Night Cries." In: Between the psyche and the social : psychoanalytic social theory / edited by Kelly Oliver and Steve Edwin. Lanham, Md. : Rowman & Littlefield Pub. c2002.
Educ/Psych BF175.4.S65.B49 2002

Mellencamp, Patricia
"An Empirical Avant-Garde: Laleen Jayamanne and Tracey Moffatt." In: Fugitive images : from photography to video / edited by Patrice Petro. Bloomington : Indiana University Press, c1995.
Main Stack TR222.F78 1995

Mellencamp, Patricia
"Haunted History: Tracey Moffatt and Julie Dash." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 16, no. 2, pp. 127-63, January 1993

Mimura, Glen Masato.
"Black memories: Allegorizing the colonial encounter in Tracey Moffatt's beDevil (1993)." Quarterly Review of Film and Video. Apr-Jun 2003. Vol. 20, Iss. 2; p. 111

Olubas, Brigitta.
"Image, Affect And Memory: Relations Of Looking In Tracey Moffatt's Bedevil!" Southerly: The Journal of the English Association, Sydney, 2005, Vol. 65 Issue 1, p81-90, 10p

Ruby, Jay.
"Film Reviews -- Night Cries: A Rural Tragedy directed by Tracey Moffatt." American Anthropologist. Mar 1992. Vol. 94, Iss. 1; p. 257 (3 pages)

Senzani, Alessadra.
"Dreaming Back: Tracey Moffatt's Bedeviling Films." Post Script, Fall2007, Vol. 27 Issue 1, P50-71, 22p,
UC users only

Smith, Sarah.
"Lip and Love: subversive repetition in the pastiche films of Tracey Moffatt." Screen, Summer2008, Vol. 49 Issue 2, p209-215, 7p

Sorkin, Jenni.
"The Moving Images of Tracey Moffatt." Modern Painters, Nov2007, p104-105, 2p

Stretton, Andrea
"Reading: Tracey Moffatt." Art & Australia; Summer2005, Vol. 43 Issue 2, p282-284, 3p, 7 color

Summerhayes, Catherine.
"Haunting Secrets: Tracey Moffatt's beDevil." Film Quarterly. Fall 2004. Vol. 58, Iss. 1; p. 14 (11 pages)
UC users only

Turcotte, Gerry.
"Spectrality in Indigenous Women's Cinema: Tracey Moffatt and Beck Cole." Journal of Commonwealth Literature. 2008. Vol. 43, Iss. 1; p. 7

Hans Richter

Elder, R. Bruce
"Hans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of the Absolute Film." In: Avant-garde film / edited by Alexander Graf and Dietrich Scheunemann. Amsterdam ; New York : Rodopi, 2007.
Main (Gardner) Stacks PN1995.9.E96 A89 2007

Hoffmann, Justin
"Hans Richter: Constructavist Filmmaker." In": Hans Richter : activism, modernism, and the avant-garde / edited by Stephen C. Foster. Cambridge, Mass. : MIT Press, c1998.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1998.3.R535 H36 1998)

Richter, Hans.
Dada: Art and Anti-art. New York, McGraw-Hill, [196?].
UCB Art Hist ND1265 .R532 1965
UCB Main ND1265 .R532
UCB Moffitt ND1265 .R5

Richter, Hans
Hans Richter Edited by Cleve Gray. London, Thames and Hudson, 1971.
UCB Main NX93.R5 G7 1971b

Hans Richter
"The Avant-Garde Film Seen from within." Hollywood Quarterly, Vol. 4, No. 1 (Autumn, 1949), pp. 34-41
UC users only

Suchenski, Richard
"Hans Richter." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 49, pp. (no pagination), 2008
UC users only

Von Hofacker, Marion
"Richter’s Films and the Role of the Radical Artist, 1927–1941." In": Hans Richter : activism, modernism, and the avant-garde / edited by Stephen C. Foster. Cambridge, Mass. : MIT Press, c1998.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1998.3.R535 H36 1998)

Westerdale, Joel
"The Musical Promise of Abstract Film." In: Rogowski, Christian (ed., introd., and preface). 2010. The Many Faces of Weimar Cinema: Rediscovering Germany's Filmic Legacy. (pp. 153-166). Rochester, NY: Camden House, xiii, 354 pp.

Yvonne Rainer

Brannigan, Erin.
"Yvonne Rainer" (Great Directors: A Critical Database) Senses of Cinema

Fowler, Catherine
"Cinefeminism in Its Middle Ages, or 'Please, Please, Please Give Me Back My Pleasure': The 1990s Work of Sally Potter, Chantal Akerman, and Yvonne Rainer." In: Women filmmakers : refocusing / edited by Jacqueline Levitin, Judith Plessis, and Valerie Raoul. Vancouver : UBC Press, 2002.
Main Stack PN1995.9.W6.W655 2003

Goldberg, Marianne.
"The Body, Discourse, and The Man Who Envied Women." Women & Performance: A Journal of Feminist Theory, vol. 3 no. 2 (6). 1987-1988. pp: 97-102.

Goodeve, Thyrza Nichols.
"Rainer Talking Pictures." (independent filmmaker Yvonne Rainer)(Interview) Art in America v85, n7 (July, 1997):56 (9 pages).

Green, Shelly.
Radical Juxtaposition: The Films of Yvonne Rainer. Metuchen, N.J.: Scarecrow Press, 1994.
Main Stack PN1998.3.R35.G74 1994

Hoberman, J.
"Explorations: our movies, ourselves."American Film VII/1, Oct 81; p.34-36. illus.
Discusses current avant-garde filmmakers who take a feminist point of view: Yvonne Rainer, Vivienne Dick, Valie Export and others.

Klawans, Stuart.
"Privilege." (movie reviews) Nation v252, n3 (Jan 28, 1991):99.

Kotz, Liz.
"A Legend Comes Out: Critically Acclaimed Filmmaker Yvonne Rainer. (Interview) Advocate, n589 (Nov 5, 1991):82 (4 pages).

Lambert, Carrie
"Moving Still: Mediating Yvonne Rainer's Trio A." October, vol. 89, pp. 87-112, Summer 1999.
UC users only

Levin, Patricia
"Yvonne Rainer." In: Women and experimental filmmaking / edited by Jean Petrolle and Virginia Wright Wexman. Urbana : University of Illinois, c2005.
Table of contents http://www.loc.gov/catdir/toc/ecip055/2004029712.html
Main Stack PN1995.9.E96.W66 2005

Lord, Catherine
"Looking like a Lesbian: Yvonne Rainer's Theory of Probability." In: Decomposition : post-disciplinary performance / edited by Sue-Ellen Case, Philip Brett, and Susan Leigh Foster. Bloomington : Indiana University Press, c2000.
Main Stack NX456.D43 2000

MacDonald, Scott.
"Demystifying the Female Body: Anne Severson - Near the Big Chakra: Yvonne Rainer - Privilege." (Interview) Film Quarterly v45, n1 (Fall, 1991):18 (15 pages).
UC users only

Oliver, Wendy
"Disappearing Act: Yvonne Rainer, Trio A, and the Feminist Dilemma (1966)." In: Women making art : women in the visual, literary, and performing arts since 1960 / edited by Deborah Johnson & Wendy Oliver. New York : Peter Lang, c2001.
Main Stack NX180.F4.W6575 2001

Raaberg, Gwen
"Views from 'The Other Side': Theorizing Age and Difference in Yvonne Rainer's Privilege." Women's Studies Quarterly, vol. 30, no. 1-2, pp. 120-30, Spring 2002.

Rainer, Yvonne
Fiction, Character and Narrative. Devon, England: Dept. of Theatre, Dartington College of Arts, 1978. Theatre papers; 2nd ser., no. 7. (Main Stack PN2001.T44 v.2:7)

Rainer, Yvonne
The Films of Yvonne Rainer / Yvonne Rainer with contributions by B. Ruby Rich ... [et al.]. Bloomington: Indiana University Press, c1989. Theories of representation and difference.
Main Stack PN1998.3.R35.A25 1989

Rainer, Yvonne
A woman who-- : essays, interviews, scripts Baltimore : Johns Hopkins University Press, c1999.
MAIN: PN1995.9.E96 R35 1999

Rainer, Yvonne.
"Working Round the L-Word." In: Queer Looks: Perspectives on Lesbian and Gay Film and Video. New York. Editors Martha Gever, Pratibha Parmar, John Greyson. pp. 12-20. New York: Routledge, 1993.
Main Stack PN1995.9.H55.Q4 1993
Moffitt PN1995.9.H55.Q4 1993

Sachs, Sid.
Yvonne Rainer : radical juxtapositions 1961-2002 Philadelphia, PA : University of the Arts, 2002.

Satin, Leslie
"Yvonne Rainer on Autobiography." Women & Performance: A Journal of Feminist Theory, vol. 10, no. 1-2 [19-20], pp. 89-103, 1999.

Walley, Jonathan
"From Objecthood to Subject Matter: Yvonne Rainer's Transition from Dance to Film." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 18, pp. (no pagination), Winter 2002.

Woodward, Kathleen
"Statistical Panic." Differences: A Journal of Feminist Cultural Studies, vol. 11, no. 2, pp. 177-203, Summer 1999.
On Murder and Murder

Walther Ruttmann

See separate bibliography on Ruttmann

Jack Smith

See Gay/Lesbian Film bibliography

Chick Strand

Haug, Kate; Leimbacher, Irina
"An interview with Chick Strand."Wide Angle; Vol.XX nr.1 (Jan 1998); p.106-145 (UCB users only)
C.S. recalls the burgeoning West Coast experimental film scene in the 1960's and speaks of her depiction of women, her antipathy towards feminism or any structured 'movement', and the importance of anthropological studies to her work; plus an examination of Strand's resistance to theory and her idiosyncratic use of the hand-held camera.

Haug, Kate.
"Chick Strand Bibliography." Wide Angle 20.1 (1998) 106-137.
(UCB users only) (UCB users only)
C.S. recalls the burgeoning West Coast experimental film scene in the 1960's and speaks of her depiction of women, her antipathy towards feminism or any structured 'movement', and the importance of anthropological studies to her work; plus an examination of Strand's resistance to theory and her idiosyncratic use of the hand-held camera.

Leimbacher, Irina
"Chick Strand." Wide Angle v 20 no1 Jan 1998. p. 138-45
"Part of a special issue on the work of three groundbreaking women experimental filmmakers of the 1960s and 1970s: Carolee Schneemann, Barbara Hammer, and Chick Strand. The writer discusses the work of Chick Strand. Strand's early films, completed as part of the Ethnographic Film Program at the University of California in Los Angeles, combined her interest in anthropology and her passion for experimental film. Her work often lies between various filmic forms, such as the collage, the documentary, and the self-investigative, and must often be read between the images. In this work, her intensely personal vision merges with concerns, whether "intended" or not, to deconstruct fixed ideas of objectivity, narrative, identity, and female sensuality. Lyrically experiential rather than analytically rigorous, and empathetic rather than activist, the work continues to be emotionally moving and intellectually engaging." [Art Index]

Pramaggiore, Maria
"Chick Strand's experimental ethnography." In: Women's experimental cinema : critical frameworks
Robin Blaetz, editor. Durham : Duke University Press, 2007.
Main (Gardner) Stacks; PFA PN1995.9.E96 W68 2007)
Pacific Film Archive PN1995.9.E96 W68 2007

Agnes Varda

See separate bibliography on Varda

Jean Vigo

See separate bibliography on Vigo

Bill Viola

The art of Bill Viola
Edited by Chris Townsend. London : Thames & Hudson, c2004.
MAIN: N6537.V56 A8 2004

Bellour R; Viola B.
"Interview With Bill Viola." Cahiers Du Cinema, N379; 1986; 35-42

"Bill Viola: Whitney Museum of American Art, 12 February--10 May 1998. Italy 1998." Domus no805 (June '98) p. 81-8.
A review of a recent show of installations by Bill Viola at the Whitney Museum of American Art, New York. Including selected pieces from over 20 years of the artist's work, the show is an ideal sequence of ancient and universal experiences and emotions that succeeds because of those intervals between images when viewers reflect on the human situation in postmodern terms. Viola's art reveals a sense of focus on the personal, even existential sense of being in a changing world.

Books C.
"For-Even-Supposing-That-I-Was-Dreaming (Descartes) (Bill Viola's 'Hatsu Yume' And Edin Velez' 'Meta Mayan' Videotapes) >Performing Arts Journal, V8; N2; 1984

Boyle, Deirdre.
"Post-traumatic Shock: Bill Viola's Recent Work." Afterimage v23, n2 (Sept-Oct, 1996):9 (3 pages)
Bill Viola's 1995 video installation series called 'Buried Secrets' is a compilation of five video and audio installations that call to mind one's fears, unresolved conflicts and anxieties. The series touches on the sacred nature of secrets. Although a few would contend that it is a reflection of Viola's own life story, the series' interpretation is actually a private matter that should be guided by the viewer's preparedness to examine his own responses to Viola's deep probing. 'Buried Secrets' consists of the 'Hall of Whispers,' 'The Veiling,' 'Presence,' 'Interval' and 'The Greeting.'.

Cubitt S.
"Video Art And Colonialism, An Other And Its Others" (Retrospectives Of Bill Viola and Nam June Paik) Screen V30; N4; 1989; 66-79

Danto, Arthur C.
"TV and Video." (television art and video art)(Cover Story)(Column)Nation v261, n7 (Sept 11, 1995):248 (6 pages).
'TV art' and 'video art' may be distinguished one from the other in that TV art deals with the implications of the television set, as in the works of Nam June Paik, while video art is often of a more spiritual nature and not anchored by the television set, as in the works of Bill Viola.

Darke, Chris.
"Feelings Along the Body." (video camera imaging) (Interview) Sight and Sound v4, n1 (Jan, 1994):26 (3 pages).
Bill Viola, a video camera specialist, emphasizes the importance of coordination between sound and image for effective presentation of a film. The video tapes produced by Viola are a harmonic blend of sound and image. Several programs with these effects have been telecast in the MTV network. The sound-image coordination combines art and technology with the help of the multi-media systems.

Duncan, Michael.
"Bill Viola: altered perceptions." (exhibition of artist at the Whitney Museum, New York, New York)(Cover Story) Art in America v86, n3 (March, 1998):62 (8 pages).
Viola's art uses video installations to allow the viewer to interact with life on both abstract and concrete levels. Evident in his work is the influence of real-life concerns, such as the AIDS crisis. The profundity of his work makes meta-art appear trivial.

Gardner, James.
"Is it art?" (video artist Bill Viola)National Review v50, n8 (May 4, 1998):58 (2 pages).

Glueck, Grace.
"Video comes into its own at the Whitney biennial: gallery view." (Whitney Museum, New York) (column) New York Times v132, sec2 (Sun, April 24, 1983):H33(H), H33(L), col 1, 31 col in.

Judson, William.
"Bill Viola: Allegories in Subjective Perception." Art Journal v54, n4 (Winter, 1995):30 (6 pages)
Video artist Bill Viola encourages viewers to examine their own subjectivity through his video installations. Viola's commentary on the subjective experience of art can be seen in works such as 'Room for St. John of the Cross' in which a projection of a mountain is accompanied by a video showing a room with a monitor playing a view of a mountain. Viola has pioneered video art with works in the 70s using early video technology.

Katz, Alyssa.
"Mondo video." (video art, Whitney Museum of American Art, New York, New York) Nation v266, n19 (May 25, 1998):34 (3 pages).
The video art of Bill Viola manages to produce visions of transcendence from a medium that caters to stimulation. In much the same way, some television shows, such as 'Teletubbies,' rejects the usual narrative-oriented approach and brings forth images that create imagined realities.

Kustpit, Donald.
"Deep TV: Bill Viola's Via Negativa." Artforum v33, n9 (May, 1995):86 (6 pages).
Video artist Bill Viola attempted to render the mystical qualities of space in his work 'Deserts.' Viola uses multiple images shot in Death Valley, CA, that are merged together at increasing speeds to create an ambiguous or amorphous image. Viola's working principle for the video is the feeling of 'via negativa' which is a quest for the unknowable and that which is lost from cognition.

Kuspit, Donald.
"Bill Viola: The Passing." (videotape) Artforum v32, n1 (Sept, 1993):144 (3 pages).
Bill Viola utilizes the modern television technology to convey the state of the art. 'The Passing' is a still from a black and white videotape which shows a night sky followed by a man drowning in water. The tape primarily displays a child's birth and its mother's death. Viola is convinced that the television articulates the inarticulate, is novel and appeals to a larger section of the audience.

London, Barbara.
"Video Spaces." (various video artists, the Museum of Modern Art, New York, New York) Performing Arts Journal, n54 (Sept, 1996):14 (5 pages).

Maksymowicz, Virginia.
"Artist Viola's world infused with divine." (religiosity of artist Bill Viola's video/sound exhibit 'The Crossing' at the Whitney Museum of American Art, New York, NY) National Catholic Reporter v34, n25 (April 24, 1998):14 (2 pages).

Madoff, Steven Henry.
"Our man in Venice: virtuoso of video spectaculars." (Bill Viola's 'Buried Secrets' represents the United States in the Venice Biennale's centennial; Venice, Italy)New York Times v144, sec2 (Sun, June 4, 1995):H30(N), H30(L), col 4, 28 col in.

Philp H. D.
"The Self-Discovery Channel" (Video magician Bill Viola has succeeded in turning an avant-garde medium to the most traditional concerns)Artnews, NOV V96; N10; 1997; 206-209

Pollack B.
"Bill Viola."Artnews, V97; N4; 1998; 177

Rutledge V.
"Art at the End of the Optical Age,Conversation with Bill Viola."Art In America, V86; N3; 1998; 70-77
Viola's interest in video art dates to his days as an undergraduate at Syracuse University in the early 1970s. He is in an intensely active phase of his career as the millennium approaches, with a major retrospective at the Whitney Museum.

Shewey, Don.
"An artist finds poetry in videotape." (Museum of Modern Art exhibits Bill Viola's nature videotapes) New York Times v137, sec2 (Sun, Nov 8, 1987):H22(N), H22(L), col 3, 37 col in.

Smith, Roberta.
"Art of the moment, here to stay; the Bill Viola show at the Whitney underscores the steady rise and long reach of video art." (exhibit of video art, Whitney Museum of Art, New York City) New York Times v147, sec2 (Sun, Feb 15, 1998):AR1(N), AR1(L), col 2, 55 col in.

Smith, Roberta.
"Video pioneer's roller coaster of shimmering, rocking images." (Bill Viola, Whitney Museum of American Art, New York City) New York Times v147 (Fri, Feb 13, 1998):B35(N), E37(L), col 1, 41 col in.

Sullivan, E.
"Interview with Bill Viola." Artonview no. 42 (Winter 2005) p. 16-19
UC users only
"An interview with video artist Bill Viola to mark Bill Viola: The Passions," an exhibition at the National Gallery of Australian Art in Canberra from July 29 to November 6, 2005. He discusses various topics, including his ongoing connection with Australia, the early days of video technology, the birth of what is now called Media Art, his efforts to understand the nature of video as a medium as a young art student, transformation as the thread that links all his work, the challenges of moving from personal experiences in previous work to working with actors in The Passions, and his interest in embodiment and reenactment." [Art Index]

Viola, Bill.
Bill Viola. With contributions by Lewis Hyde ...[et al.]; curated by David A. Ross and Peter Sellars. New York: Whitney Museum of American Art in association with Flammarion, Paris-New York, 1997.
Main Stack N6537.V56 A35 1997b

Viola, Bill
Bill Viola : the passions Los Angeles : J. Paul Getty Museum in association with the National Gallery, London, 2003.
AH-C: N6537.V56 A4 2003 Room 308G

"Viola, Bill." (video artist) Current Biography v59, n5 (May, 1998):54 (4 pages).

Viola, Bill.
Reasons for Knocking at an Empty House: Writings 1973-1994. Edited by Robert Violette in collaboration with the author; introduction by Jean-Christophe Ammann. Cambridge, Mass.: MIT Press; London: Anthony d'Offay Gallery, 1995.
UCB Main N6537.V56 A35 1995

Wallace, John.
"New television." (television program reviews) New York Times v136, sec2 (Sun, April 19, 1987):H29(N), H29(L), col 1, 41 col in.

Weinraub, Bernard.
"Video explorer sees links to Renaissance." (Bill Viola's video work is subject of retrospective currently at the Los Angeles County Museum of Art) (Living Arts Pages) New York Times v147 (Tue, Dec 9, 1997):B1(N), E1(L), col 5, 27 col in.

Willis, Holly.
"A conversation with Bill Viola." Artweek v. 28 (Dec. '97) p. 22.
An interview with the video artist Bill Viola. Among the topics Viola discusses are the process behind the creation of his video installations, how he would characterize the contemporary value of video, and what draws him to the medium of video.

Young, Lisa Jaye.
"The elemental sublime." (Bill Viola, The Guggenheim Museum SoHo, New York, New York)Performing Arts Journal, n57 (Sept, 1997):65 (7 pages).

Youngblood G.
"Metaphysical Structuralism, The Videotapes Of Bill Viola." Millennium Film Journal, N20-2; 1989; 80-114

Lars von Trier

See separate von Trier bibliography

Andy Warhol

Brasell, R. Bruce.
"My Hustler: Gay Spectatorship as Cruising."Wide Angle, vol. 14 no. 2. 1992 Apr. pp: 54-64.

Ehrenstein, David.
"The Filmmaker as Homosexual Hipster: Andy Warhol Contextualized."Arts Magazine v63, n10 (Summer, 1989):61 (4 pages).

Gidal, Peter.
Andy Warhol: Films and Paintings. [London] Studio Vista [New York] Dutton Pictureback [1971]. Series title: Studio Vista/Dutton pictureback.
UCB Main NX93.W37 G51

Hawkins, Joan
"Monsters in the Art World: Andy Warhol and Paul Morrissey." In: Cutting edge : art-horror and the horrific avant-garde Minneapolis : University of Minnesota Press, c2000.
MAIN: PN1995.9.E96 H38 2000

Koch, Stephen.
Stargazer; Andy Warhol's World and His Films. New York, Praeger [1973].
UCB Main PN1998.A3 W2771
UCB Moffitt PN1998.A3 W277

O'Pray, Michael.
Andy Warhol Film Factory / edited by Michael O'Pray. London: BFI Pub., 1989.
UCB Main PN1998.A3 W2771 1989
UCB Moffitt PN1998.3.W366 O6 1989

Rickels, Laurence A.
"Blood: Andy Warhol Presents Dracula." In: The vampire lectures Minneapolis : University of Minnesota Press, c1999.
MAIN: PN1995.9.V3 R53 1999)

Shaviro, Steven.
"Warhol's Bodies." In: The cinematic body / Steven Shaviro. Minneapolis : University of Minnesota Press, c1993.
Full-text available online [UC Berkeley users only]
Main (Gardner) Stacks PN1995 .S484 1993)

Smith, Patrick S.
Andy Warhol's Art and Films. Ann Arbor, Mich.: UMI Research Press, c1986.
UCB Moffitt NX512.W37 S6 1986

Stoller, James
"Beyond Cinema: Notes on Some Films by Andy Warhol." Film Quarterly, Vol. 20, No. 1 (Autumn, 1966), pp. 35-38
UC users only

Suarez, Juan Antonio.
Bike Boys, Drag Queens & Superstars: Avant-garde, Mass Culture, and Gay Identities in the 1960s Underground Cinema. Bloomington: Indiana University Press, c1996.
UCB Main PN1995.9.E96 S82 1996
UCB Moffitt PN1995.9.E96 S82 1996

Taubin, Amy.
"My Time is Not Your Time." Sight and Sound v4, n6 (June, 1994):21 (4 pages).

Dada and Surrealist Film

Bibliography of books and articles about Luis Bunuel in the UCB Library

Abel, Richard.
"Exploring the Discursive Field of the Surrealist Film Scenario Text."Dada/Surrealism, vol. 15. 1986. pp: 58-71

Adamowicz, Elza
"Bodies cut and dissolved: Dada and surrealist film." In: Gender and French cinema / edited by Alex Hughes and James S. Williams. Oxford ; New York : Berg, 2001.
Full-text available online (UC Berkeley users only)
Main Stack PN1993.5.F7.G46 2001

Ades, Dawn.
"Internationalism and Eclecticism: Surrealism and the Avant-Garde in Painting and Film 1920-1930." In: Spanish Cultural Studies: An Introduction: The Struggle for Modernity. edited by Helen Graham and Jo Labanyi, pp. 71-79. Oxford; New York: Oxford University Press, 1995.
UCB Main DP233.5 .S7 1995

Aiken, Edward A.
"Reflections on Dada and the Cinema." Post Script: Essays in Film and the Humanities, vol. 3 no. 2. 1984 Winter. pp: 5-19.

Artaud : the screaming body
[Stephen Barber].[London]: Creation, 2004.
An account of Artaud's film projects, and his conception of Surrealist cinema.
Main Stack PN1998.3.A7624.B37 2004
Moffitt PN1998.3.A7624.B37 2004

Barber, Stephen.
"A Cinema of Cruelty: Antonin Artaud." (excerpts from A Foundry of the Figure: Antonin Artaud)Artforum v28, n2 (Oct, 1989):163 (4 pages).

Bohn, Willard
Marvelous encounters : surrealist responses to film, art, poetry, and architecture Lewisburg, [Pa.] : Bucknell University Press, c2005.
MAIN: PN814 .B65 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip056/2005000366.html

Caws, Mary Ann.
"(Dada & Surrealist) Film and Theatre."Dada/Surrealism, vol. 3. 1973. PAGES: 7-42.

Cinema and the Realms of Enchantment: Lectures, Seminars, and Essays / by Marina Warner and others; edited by Duncan Petrie. London: British Film Institute, 1993. Series title: BFI working papers.
UCB Main PN1995.9.F36 C55 1993

Conley, Tom.
"Documentary Surrealism: On Land without Bread."Dada/Surrealism, vol. 15. 1986. pp: 176-198.

Dada and Surrealist Film. Edited by Rudolf E. Kuenzli. New York: Willis, Locker & Owens, c1987.
PN1995.9.S85 D341 1996
UCB Main PN1995.9.S85 D341 1987 (earlier edition)
UCB Moffitt PN1995.9.S85 D34 1987 (earlier edition)

Earle, William.
A Surrealism of the Movies. Chicago, Ill. : Precedent Pub.; New Brunswick, U.S.A.: Distributed by Transaction Books, c1987.
UCB Main PN1995 .E281 1987

Ekberg, Kent.
"Studio 28: The Influence of the Surrealist Cinema on the Early Fiction of Anais Nin and Henry Miller."Deus Loci: The Lawrence Durrell Quarterly, vol. 4 no. 3. 1981 Mar. pp: 3-4.

Elsaesser, Thomas.
"Dada/Cinema?" Dada/Surrealism, vol. 15. 1986. pp: 13-27.

Everett, Wendy
"Screen as threshold: the disorientating topographies of surrealist film." Screen v 39 no2 Summer 1998. p. 141-52
"Part of a special issue on surrealism in motion pictures. The writer discusses surrealist practice in relation to film. The surrealists saw film as the ideal medium for expressing and exploring their concerns for several reasons, including its perceived similarities to the state of dreaming, which seemed perfect for their exploration of dreams and subconscious wishes. Such ideas underpin surrealist theory and practice in relation to film--the belief that the viewer's is an essentially creative role in negotiating a film's meaning--as well as perhaps forming the basis for the belief that film is inherently surrealistic. Beginning with an examination of the scene in Luis Bunuel's 1929 film Un Chien andalou, in which a razor slices open an eye and its contents spill out, the writer goes on to examine the idea of cinema as movement and locus within the process of surrealism, concluding that perhaps the surrealists' greatest contribution to film theory was their attempt to understand how films and dreams function as communication systems that are measurably different from verbal language." [from ArtAbstracts]

Fantastic art, dada, surrealism
Edited by Alfred H. Barr, Jr.; essays by Georges Hugnet. Museum of Modern Art (New York, N.Y.) 2d ed. rev. and enl.
"Fantastic or surrealist films in the Museum of modern art film library: p. 287-288. "Brief bibliography" p. 289-292.
Bancroft PS3562.A42.Z99.F3683 1937
MAIN: ND1265 .N43 1937; Storage Info: [copy 1]
AH-C: ND1265 .N43 1937 Room 308J
ENVI: ND1265 .N43

Flitterman-Lewis, Sandy.
"Surrealist Cinema: Politics, History, and the Language of Dreams." American Imago: Studies in Psychoanalysis and Culture, vol. 50 no. 4. 1993 Winter. pp: 441-56.

Fotiade, Ramona.
"The Slit Eye, the Scorpion and the Sign of the Cross: Surrealist Film Theory and Practice Revisited."Screen. 39(2):109-23. 1998 Summer.

Fotiade, Ramona.
"The Untamed Eye: Surrealism and Film Theory." Screen, vol. 36 no. 4. 1995 Winter. pp: 394-407.
"Part of a special issue on surrealism in motion pictures. The writer examines the relationship between cinema and the artistic avant-garde of the 1920s and 1930s. Noting that the relationship between the literary avant-garde--especially surrealism--and early French cinema stretches back to the mid 1910s, she asserts that it is the ability of cinema to "visualize dreams" that represents the guiding principle for its appropriation amid the representations of surrealism. She goes on to discuss the work of Louis Bunuel, whose films Un Chien andalou (1929) and L'Age d'or (1930) represent by far the most spoken-about exemplars of surrealist projects in the cinema. She concludes that such works as Jean-Jacques Beineix's 1986 film 37.2[degree] le matin/Betty Blue are examples of the possible reevaluation of surrealist themes and motifs in contemporary cinema." [from ArtAbstracts]

Freeman, Judi.
"Bridging Purism and Surrealism: The Origins and Production of Fernand Leger's Ballet Mecanique." Dada/Surrealism, vol. 15. 1986. pp: 28-45.

Gould, Michael.
Surrealism and the Cinema: (Open-eyed Screening). Cranbury, N.J.: A. S. Barnes, 1976.
UCB Main PN1995.9.S85 G61 1976;
UCB Moffitt PN1995.9.S85 G61 1976

Greene, Naomi.
"Artaud and Film: A Reconsideration." Cinema Journal, vol. 23 no. 4. 1984 Summer. pp: 28-40.

Hammond, Paul
"Poetic Justice." Sight & Sound XLVII/3, Summer 78; p.178-182. illus.
Examination of the attitudes of the surrealists in the way they looked at films and the films they made.

Hedges, Inez.
Languages of Revolt: Dada and Surrealist Literature and Film. Durham, N.C.: Duke University Press, c1983.
UCB Main NX600.D3 .H35 1983

King, Elliott H.
Dali, surrealism and cinema / Elliott H. King. Harpenden : Kamera Books, 2007.
Main (Gardner) Stacks PN1998.3.D35 K55 2007
Pacific Film Archive PN1998.3.D35 K55 2007

Kovacs, Steven.
From Enchantment to Rage: The Story of Surrealist Cinema. Rutherford, [N.J.]: Fairleigh Dickinson; London: Associated University Presses, c1980.
UCB Main PN1995.9.S85 .K6

Kuenzli, Rudolf E.
"Bibliography: Dada and Surrealist Film." Dada/Surrealism, vol. 15. 1986. pp: 220-254.

Kyrou, Adonis
Le Surrealisme au Cinema. Ed. mise a jour. [Paris?] Le Terrain Vague, 1963.
UCB Main PN1995.9.S85 K9 1963

L'Occhio Tagliato: Documenti del Cinema Dadaista e Surrealista. Torino: Martano Editore, 1973, c1972. Series title: Nadar; 10.
UCSB Main Lib PN1995.9.D35 O23;
NRLF B 3 185 092

Matthews, J. H.
Surrealism and Film, by J. H. Matthews. Ann Arbor, University of Michigan Press [1971].
UCB Main PN1995.9.S85 M3
UCB Moffitt PN1995.9.S85 M3 *c3 copies

Moine, Raphaelle and Taminiaux, Pierre
"From Surrealist Cinema to Surrealism in Cinema: Does a Surrealist Genre Exist in Film?" Yale French Studies, No. 109, Surrealism anf Its Others (2006), pp. 98-114
UC users only

O'Pray, Mike.
"Overwhelming Bodies." (surrealistic depictions of bodies in motion pictures) Sight and Sound v2, n8 (Dec, 1992):16 (2 pages).
The influence of surrealist depictions of the body is evident in Hollywood films, particularly in 1950s and1960s science fiction and horror features such as 'Tomb of Ligeia' and 'Psycho.' In the 1990s, the surrealist influence reappears as an expression of psychotic sexuality in films such as 'Blue Steel,' Silence of the Lambs' and 'Basic Instinct.'.

Oswald, Laura.
"Discourse/Figure: The Inscription of the Subject in Surrealist Film." In: Cinema and Language. Edited by Stephen Heath and Patricia Mellencamp, pp.118-126.
UCB Main PN1995 .C4863 1983

Pellow, C. Kenneth.
'Blue Velvet' once more. Literature-Film Quarterly v18, n3 (July, 1990):173 (6 pages).

Perlmutter, Ruth.
"Dada Sine-ma Dada." Dada/Surrealism, vol. 3. 1973. pp: 7-16.

Powrie, P.
"Film-form-mind: The Hegelian Follies of Roger Gilbert-Lecomte."Quarterly Review of Film and Video XII/4, Sept 91; p.19-32.
Text by R.G.-L., 'The alchemy of the eye. Cinema as a form of mind' (originally publ. in 'Cahiers Jaunes', 1933), plus comments from a contemporary perspective on the writer's surrealist and political affinities and his stance towards Hegelian dialectic.

Richardson, Michael
Surrealism and cinema / Michael Richardson. Oxford ; New York : Berg, 2006.
Full text available online (UCB users only)
Full text available online (UCB users only)

Surrealist film the stuff of dreams[Video]
Surrealist cinema sought to break with the conventional linear narrative style in favor of chance events and a world of the subconscious. This program analyzes the origin, evolution and legacy of this cinematic movement whose stylistic artifacts can still be found in today's mass culture. Key figures of Dadaism and Surrealism are highlighted including Germaine Dulac, Luis B~unuel and Man Ray with excerpts from their works and other films of the genre.
MRC: DVD 4145

The unsilvered screen : surrealism on film
Edited by Graeme Harper and Rob Stone. London : Wallflower, 2007.
Main (Gardner) Stacks PN1995.9.S85 U57 2007

Virmaux, Alain.
Les Surrealistes et le Cinema. Paris: Seghers, c1976.
UCB Main PN1995.9.S85 V51 1976;
NRLF B 3 165 762

Walz, Robin.
"Serial Killings: Fantomas, Feuillade, and the Mass-Culture Genealogy of Surrealism." The Velvet Light Trap, vol. 37. 1996 Spring. pp: 51-57.
Provides details of those elements in Louis Feuillade's crime serials which made them essential viewing for the surrealists.

White, Mimi.
"Two French Dada Films: Entr'Acte and Emak Bakia." Dada/Surrealism, vol. 13. 1984. pp: 37-47.

Williams, Linda.
Figures of Desire: A Theory and Analysis of Surrealist Film. Urbana : University of Illinois Press, c1981.
UCB UCB Main PN1995.9.S85 W5 1981a; Moffitt PN1995.9.S85 .W5



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