Film Manifestos and Global Cinema Cultures is the first book to
collect manifestoes from the global history of cinema, providing
the first historical and theoretical account of the role played by
film manifestos in filmmaking and film culture. Focusing equally on
political and aesthetic manifestoes, Scott MacKenzie uncovers a
neglected, yet nevertheless central history of the cinema,
exploring a series of documents that postulate ways in which to
re-imagine the cinema and, in the process, re-imagine the world.
This volume collects the major European "waves" and figures
(Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme
'95); Latin American Third Cinemas (Birri, Sanjines, Espinosa,
Solanas); radical art and the avant-garde (Bunuel, Brakhage, Deren,
Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf,
Sembene, Sen). It also contains previously untranslated manifestos
co-written by figures including Bollain, Debord, Hermosillo, Isou,
Kieslowski, Painleve, Straub, and many others. Thematic sections
address documentary cinema, aesthetics, feminist and queer film
cultures, pornography, film archives, Hollywood, and film and
digital media. Also included are texts traditionally left out of
the film manifestos canon, such as the Motion Picture Production
Code and Pius XI's Vigilanti Cura, which nevertheless played a
central role in film culture.
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