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Annette Michelson's erudite and incisive readings of the
revolutionary films of Sergei Eisenstein and Dziga Vertov,
collected for the first time.This posthumous volume gathers Annette
Michelson's erudite and incisive readings of the revolutionary
films of Sergei Eisenstein and Dziga Vertov, giving readers the
opportunity to track her sustained investigations into their work.
Michelson introduced American audiences to Soviet cinema in the
early 1970s, extending the interpretive paradigm she had used for
American filmmakers of the mid-twentieth century--in which she
emphasized phenomenological readings of their work--to films and
writings by Eisenstein and Vertov. Over four decades, Michelson
returned again and again to what she calls, following Eisenstein,
"intellectual cinema"--the deliberate attempt to create
philosophically informed analogues for consciousness. The volume
includes Michelson's major essays on Eisenstein's unrealized
attempts to make movies of both Marx's Capital and Joyce's Ulysses,
as well as her authoritative discussion of Vertov's 1929
masterpiece The Man with a Movie Camera. Together, the texts
demonstrate Michelson's pervasive influence as a writer and
thinker, and her role in the establishment of cinema studies as an
academic field. This collection makes these canonical texts
available for a new generation of film scholars.
The first collection of Annette Michelson's influential writings on
film, with essays on work by Marcel Duchamp, Maya Deren, Hollis
Frampton, Martha Rosler, and others. The celebrated critic and film
scholar Annette Michelson saw the avant-garde filmmakers of the
1950s and 1960s as radically redefining and extending the Modernist
tradition of painting and sculpture, and in essays that were as
engaging as they were influential and as lucid as they were
learned, she set out to demonstrate the importance of the
underappreciated medium of film. On the Eve of the Future collects
more than thirty years' worth of those essays, focusing on her most
relevant engagements with avant-garde production in experimental
cinema, particularly with the movement known as American
Independent Cinema. This volume includes the first critical essay
on Marcel Duchamp's film Anemic Cinema, the first investigation
into Joseph Cornell's filmic practices, and the first major
explorations of Michael Snow. It offers an important essay on Maya
Deren, whose work was central to that era of renewal and
reinvention, seminal critiques of Stan Brakhage, Hollis Frampton,
and Harry Smith, and overviews of Independent Cinema. Gathered here
for the first time, these texts demonstrate Michelson's pervasive
influence as a writer and thinker and her role in the establishment
of cinema studies as an academic field. The postwar generation of
Independents worked to develop radically new terms, techniques, and
strategies of production and distribution. Michelson shows that the
fresh new forms they created from the legacy of Modernism became
the basis of new forms of spectatorship and cinematic pleasure.
A critical primer on the work of Andy Warhol. Andy Warhol
(1928-1987), one of the most celebrated artists of the last third
of the twentieth century, owes his unique place in the history of
visual culture not to the mastery of a single medium but to the
exercise of multiple media and roles. A legendary art world figure,
he worked as an artist, filmmaker, photographer, collector, author,
and designer. Beginning in the 1950s as a commercial artist, he
went on to produce work for exhibition in galleries and museums.
The range of his efforts soon expanded to the making of films,
photography, video, and books. Warhol first came to public notice
in the 1960s through works that drew on advertising, brand names,
and newspaper stories and headlines. Many of his best-known images,
both single and in series, were produced within the context of pop
art. Warhol was a major figure in the bridging of the gap between
high and low art, and his mode of production in the famous studio
known as "The Factory" involved the recognition of art making as
one form of enterprise among others. The radical nature of that
enterprise has ensured the iconic status of his art and person.
Andy Warhol contains illustrated essays by Benjamin H. D. Buchloh,
Thomas Crow, Hal Foster, Rosalind Krauss, Annette Michelson, and
Nan Rosenthal, plus a previously unpublished interview with Warhol
by Buchloh. The essays address Warhol's relation to and effect on
mass culture and the recurrence of disaster and death in his art.
The more than 40 writings that make up this intellectual
autobiography reveal a rare conjunction of personal candor and
political commitment. Nagisa Oshima is generally regarded as the
most important Japanese film. director after Kurosawa and is one of
Japan's most productive and celebrated postwar artists. His early
films represent the Japanese New Wave at its zenith, and the films
he has made since (including In the Realm of the Senses and Merry
Christmas, Mr. Lawrence) have won international acclaim. The more
than 40 writings that make up this intellectual autobiography
reveal a rare conjunction of personal candor and political
commitment. Entertaining, concise, disarmingingly insightful, they
trace in vivid and carefully articulated detail the development of
Oshima's theory and practice.The writings are arranged in
chronological order and cover the period from the mid-1950s to the
mid-1980s. Following a historical overview of the contemporary
Japanese cinema, a substantial section articulates the theoretical
and political rationale of 0shima's film production. Among many
other topics considered in his essays, Oshima questions the
economics of film production, the ethics of the documentary film,
censorship (both political and sexual), and the relation of
aesthetics and social taboos.
Dziga Vertov was one of the greatest innovators of Soviet cinema.
The radical complexity of his work - in both sound and silent forms
- has given it a central place within contemporary theoretical
inquiry. Vertov's writings, collected here, range from calculated
manifestos setting forth his heroic vision of film's potential to
dark ruminations on the inactivity forced upon him by the
bureaucratization of the Soviet state.
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