Modernist and Post-Modernist Artists, Performers, and Film Makers:
A Selective Bibliography


     







René Clair

Amengual, Barthelemy.
Rene Clair. [Paris] Seghers [1963]. Series title: Cinema d'aujourd'hui 17.
  • UCB Main PN1993 .C4 v.17

    Barrot, Olivier.
    Rene Clair, ou, Le Temps Mesure. Renens [Switzerland]: 5 Continents; [Paris]: Hatier, c1985. Series title: Bibliotheque du cinema.
  • UCB Main PN1998.A3 C3871 1985

    Charensol, Georges.
    50 Ans de Cinema avec Rene Clair. Paris: La Table ronde, c1979.
  • NRLF B 3 569 826

    Dale, R. C.
    The Films of Rene Clair. Metuchen, N.J.: Scarecrow Press, 1986.
  • UCB Main PN1998.A3 C415 1986 v. 1-2 (1986)

    Greene, Naomi
    Rene Clair: A Guide to References and Resources. Boston, Mass.: G.K. Hall, c1985. Series title: A Reference publication in film.
  • UCB Main PN1998.A3 C4235 1985

    McGerr.
    Rene Clair. Boston: Twayne Publishers, 1980. Series title: Twayne's theatrical arts series.
  • UCB Main PN1998.A3 .C43
  • UCB Moffitt PN1998.A3 .C43

    Mitry, Jean.
    Rene Clair. Paris, Editions universitaires [1960]. Series title: Classiques du cinema, 9.
  • UCB Main PN1993 .C5 v.9

    O'Leary, Brian.
    "New Critical Methods and the Films of the First Avant-garde: 'Symphonie Diagonale and Entr'acte.'" Film Criticism v22, n3 (Spring, 1998):22 (16 pages).

    Entr'acte

    Dale, R.C.
    "René Clair's 'Entr'acte', or Motion Victorious." Wide Angle II/2, 78; p.38-43.
    Analysis of the film "Entr'acte" in terms of its surrealist imagery.

    O'Leary, Brian.
    "New Critical Methods and the Films of the First Avant-garde: 'Symphonie Diagonale and Entr'acte.'" Film Criticism v22, n3 (Spring, 1998):22 (16 pages).

    Sandro, P.
    "Parodic narration in 'Entr'acte'." Film Criticism IV/1, Fall 79; p.44-55.
    Discusses 'Entr'acte' as a film parody.

    Jean Cocteau

    Cocteau, Jean.
    Cocteau on the Film; Conversations with Jean Cocteau recorded by Andre Fraigneau. Translated by Vera Traill. With a new introd. by George Amberg. New York, Dover Publications [1972]. Series title: International library of theatre and cinema.
  • UCB Moffitt PN1998.A3 C7613 1972

    Evans, Arthur.
    Jean Cocteau and His Films of Orphic Identity. Philadelphia: Art Alliance Press, c1977.
  • UCB Main PN1998.A3 C764; UCB Moffitt PN1998.A3 C764

    Beauty and the Beast (La Belle et la bête)

    Blood of a Poet (Le sang d'un poète)

    Maya Deren

    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

    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))

    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).

    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.

    Millsapps J. L.
    "Deren,Maya, Imagist." Literature-Film Quarterly, V14; N1; 1986; 22-31

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

    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.

    Pramaggiore, M.
    "Performance and Persona in the US Avant-Garde: The Case of Maya Deren." Cinema Journal, 1997 Winter, V36 N2:17-40.

    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

    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.

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

    Germain Dulac

    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.

    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." 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.

    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.

    Fernand Léger

    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

    Len Lye

    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

    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.

    Man Ray

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

    McCabe, Susan.
    "'Delight in Dislocation': The Cinematic Modernism of Stein, Chaplin, and Man Ray." Modernism/Modernity. 8(3):429-52. 2001 Sept

    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

    Hans Richter

    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

    Jean Vigo

    Gomes, Paulo Emilio Salles, 1916-1977.
    Jean Vigo [by] P. E. Salles Gomes. Berkeley, University of California Press [1971].
  • (UCB Main PN1998.A3 V5413
  • UCB Moffitt PN1998.A3 V5413

    Lherminier, Pierre.
    Jean Vigo. Paris: Lherminier, c1984. Series title: Collection Cinema classique. Serie Les Cineastes.
  • UCB Main PN1998.A3 V5451 1984

    Simon, William G. (William Gerard) [DISSERTATION]
    The Films of Jean Vigo / by William G. Simon. Ann Arbor, Mich.: UMI Research Press, c1981. Series title: Studies in photography and cinematography ; no. 6.
  • UCB Main PN1998.A3 .V546 1981

    Smith, John Milton.
    Jean Vigo [by] John M. Smith. London, November Books Ltd., 1972. Series title: Movie paperbacks.
  • UCB Main PN1998.A3 V547 1972
  • UCB Moffitt PN1998.A3 V547)

    Vigo, Jean
    Jean Vigo, Ouvre de Cinema: Films, Scenarios, Projets de Films, Textes sur le Cinema. Paris : Cinematheque francaise: Lherminier, c1985. Series title: Collection Cinema classique. Serie Les Films.
  • UCB Main PN1997.A1 V45 1985

    Peggy Ahwesh

    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 •

    Kenneth Anger

    Cagle R. L.
    "Auto-Eroticism - Narcissism, Fetishism, And Consumer Culture" Cinema Journal, Sum V33; N4; 1994; 23-33

    Cagle, Chris.
    "Rough Trade: Sexual Taxonomy in Postwar America." In: RePresenting Bisexualities: Subjects and Cultures of Fluid Desire / edited by Donald E. Hall and Maria Pramaggiore. pp: 234-52. New York: New York University Press, c1996.
  • Main Stack HQ74.R46 1996

    Haug, Kate.
    "Interview with Kenneth Anger." Wide Angle 18.4 (1996) 74-92. Full-text of this article is available (UC Berkeley and Project MUSE subscribers only)

    Frumkes, Roy.
    "Look Back with Kenneth Anger: Remembrances From the Life of America's Foremost Experimental Filmmaker." Films in Review v48, n1-2 (Jan-Feb, 1997):16 (9 pages).

    Landis, Bill.
    Anger: The Unauthorized Biography of Kenneth Anger. 1st ed. New York: HarperCollins Publishers, c1995.
  • UCB Main PN1998.3.A54 L36 1995

    Moon, Michael.
    "A Small Boy and Others: Sexual Disorientation in Henry James, Kenneth Anger, and David Lynch." In: Comparative American Identities: Race, Sex, and Nationality in the Modern Text. / edited with an introduction by Hortense J. Spillers. pp: 151-56. New York. 1991.
  • UCB Main PN843 .C66 1991
  • UCB Moffitt PN843 .C66 1991

    Moonchild: the films of Kenneth Anger.
    [London]: Creation, 2002.
  • MAIN: PN1998.3.A54 M66 2002

    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

    Martin Arnold

    MacDonald, Scott .
    "Sp...Sp...Spaces of Inscription: An Interview with Martin Arnold." Film Quarterly, vol.48, no. 1 (Fall 1994), 2-11

    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]

    Sadie Benning

    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)

    "Up in Sadie's Room." Film Comment v29, n2 (March-April, 1993):7 (2 pages).

    Spiro, Ellen.
    "Shooting Star: Teenage Video Maker Sadie Benning Attracts a Youthful Audience." Advocate, n573 (March 26, 1991):68 (2 pages).

    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.

    Arthur, Paul.
    "Qualities of Light: Stan Brakhage and the Continuing Pursuit." Film Comment v31, n5 (Sept-Oct, 1995):68 (8 pages).

    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.

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

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

    Gangulu, Suranjan.
    "All That is Light: Brakhage at 60." (Interview) Sight and Sound v3, n10 (Oct, 1993):20 (4 pages).

    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

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

    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

    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

    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.

    Robert Breer

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

    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.

    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

    Shirley Clarke

    Full-text article on beat generation film by Ray Carney

    Bebb, B.
    "The Many Media Of Shirley Clarke." Journal Of The University Film and Video Association, V34; N2;1982

    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.

    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

    Bruce Connor

    Armstrong, E; Connor, B.
    "Interview with Bruce Connor." 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

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

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

    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

    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

    Su Friedrich

    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

    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 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

    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.
    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

    Chris Marker

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

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

    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)

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

    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

    Petit, Chris.
    "Insane Memory." (Chris Marker's reference to Hitchcock's 'Vertigo') Sight and Sound v4, n7 (July, 1994):13.

    Jonas Mekas

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

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

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

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

    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

    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).

    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

    Yvonne Rainer

    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

    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).

    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).

    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.
    "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

    Jack Smith

    Arcade, Penny.
    "The Last Days and Last Moments of Jack Smith." Film Culture, n76 (June, 1992):28 (5 pages).

    Hoberman, J.
    "Everything Overexposed." (analysis of Jack Smith's 1963 film 'Flaming Creatures') Sight and Sound v1, n9 (Jan, 1992):4.

    Hoberman, J.
    On Jack Smith's Flaming creatures (and other secret-flix of cinemaroc) / New York : Granary Books/Hips Road: [Distributed to the trade by D.A.P./Distributed Art Publishers], 2001.
  • MAIN: PN1997.F54 H63 2001

    Hoberman, J.
    "Treasures From the Mummy's Tomb: The Lost Ffilms of Jack Smith." Film Comment v33, n6 (Nov-Dec, 1997):42 (6 pages).

    Moon, Michael.
    "Flaming Closets." In Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture. Edited by Corey K. Creekmur and Alexander Doty, pp. 282-306.
  • Main Stack HQ76.2.U5.O98 1995

    Siegel, Marc.
    "Documentary that Dare/Not Speak Its Name: Jack Smith's Flaming Creatures." In: Between the Sheets, in the Streets: Queer, Lesbian, Gay Documentary. Chris Holmlund and Cynthia Fuchs, editors. pp: 91-106. Minneapolis: University of Minnesota Press, c1997.
  • UCB Main P96.D622 U63 1997

    Smith, Jack.
    "The Astrology of a Movie Scorpio." Film Culture, n76 (June, 1992):22 (3 pages).

    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

    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.

    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]

    Agnes Varda

    Anthony, Elizabeth M.
    "From Fauna to Flora in Agnes Varda's Cleo de 5 a 7." Literature/ Film Quarterly vol. 26 no. 2. 1998. pp: 88-96.

    Biro, Yvette.
    "Caryatids of Time: Temporality in the Cinema of Agnes Varda." Performing Arts Journal, n57 (Sept, 1997):1 (10 pages).

    Edelman, Rob.
    "Travelling a Different Route: An Interview with Agnes Varda." Cineaste, vol. 15 no. 1. 1986. pp: 20-21

    Flitterman, Sandy.
    "From Deesse to Idee: Agnes Varda's Cleo from Five to Seven." Enclitic ( vol. 7 no. 2. 1983 Fall. pp: 82-90.

    Flitterman-Lewis, Sandy
    To Desire Differently: Feminism and the French Cinema / Sandy Flitterman-Lewis. pp: 377-385. Urbana: University of Illinois Press, c1990.
  • UCB Main PN1995.9.W6 F6 1990
  • UCB Moffitt PN1995.9.W6 F6

    Flitterman-Lewis, Sandy.
    "Magic and Wisdom in Two Portraits by Agnes Varda: Kung-Fu Master and Jane B. by Agnes V." Screen vol. 34 no. 4. 1993 Winter. pp: 302-20.

    Forbes, Jill.
    "Agnes Varda; The Gaze of Medusa?" (filmmaker) Sight and Sound v58, n2 (Spring, 1989):122 (3 pages).

    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.

    Hayward, Susan.
    "Varda's Cinematic Language, a New Mythology for Women? Some Considerations on L'Une Chante, l'autre pas." Centerpoint: A Journal of Interdisciplinary Studies vol. 3 no. 3-4 (11). 1980 Fall-Spring. pp: 172-177.

    Nelson, Roy Jay.
    "Reflections in a Broken Mirror: Varda's Cleo de 5 a 7." The French Review vol. 56 no. 5. 1983 Apr. pp: 735-743.

    Talton, Jana Meredyth.
    "Agnes Varda: Ahead of the Avant-garde." Ms. Magazine v3, n6 (May-June, 1993):78 (3 pages).

    Sans toit ni loi (Vagabond)

    Smith, Alison.
    "Strategies of Representation in Sans toit ni loi." Nottingham French Studies, vol. 35 no. 2. 1996 Autumn. pp: 84-96.

    Wild, Florianne.
    "Ecriture and Cinematic Practice in Agnes Varda's Sans Toit ni Loi." L' Esprit Createur, vol. 30 no. 2. 1990 Summer. pp: 92-104.

    Bill Viola

    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.

    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." (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

  • Bill Viola exhibitions
  • Biographical sketch of Bill Viola
  • Viola site (via LA ArtScene)
  • Bill Viola bibliography (via Museum of Contemporary Art, Montreal)

    • 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

    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

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

    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).

    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

    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

    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.

    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

    • To the top

    Copyright (C) 1996 by the Library, University of California, Berkeley. All rights reserved.
    Document maintained on server: http://www.lib.berkeley.edu/ by
    Gary Handman, Head, Media Resources Center.
    Last update 6/03/03 [gh]

    MRC web graphics by Mary Scott, Graphics Office, The Teaching Library