Since the publication of his foundational work, Visionary Film, P. Adams Sitney has been considered one of our most eloquent and insightful interlocutors on the relationship between American film and poetry. His latest study, The Cinema of Poetry, emphasizes the vibrant world of European cinema in addition to incorporating the author's long abiding concerns on American avant-garde cinema. The work is divided into two principal parts, the first dealing with poetry and a trio of films by Dimitri Kirsanoff, Ingmar Bergman, and Andrei Tarkovsky; the second part explores selected American verse with American avant-garde films by Stan Brakhage, Ken Jacobs, and others. Both parts are linked by Pier Paolo Pasolini's theoretical 1965 essay "Il cinema di poesia" where the writer/director describes the use of the literary device of "free indirect discourse," which accentuates the subjective point-of view as well as the illusion of functioning as if without a camera. In other words, the camera is absent, and the experience of the spectator is to plunge into the dreams and consciousness of the characters and images presented in film. Amplifying and applying the concepts advanced by Pasolini, Sitney offers extended readings of works by T. S. Eliot, Wallace Stevens, and Charles Olson to demonstrate how modernist verse strives for the "camera-less" illusion achieved in a range of films that includes Fanny and Alexander, Stalker, Lawrence Jordan's Magic, and several short works by Joseph Cornell.

Originally published in Italian in 1915, "Shoot! "is one of the first novels to take as its subject the heady world of early motion pictures. Based on the absurdist journals of fictional Italian camera operator Serafino Gubbio, "Shoot!" documents the infancy of film in Europe--complete with proto-divas, laughable production schedules, and cost-cutting measures with priceless effects---and offers a glimpse of the modern world through the camera's lens.
"Shoot!, "presented here in its 1927 English translation, is a classic example of Nobel Prize-winning Sicilian playwright Luigi Pirandello's (1867-1936) literary talent and genius for blurring the line between art and reality. From the film studio Kosmograph, Pirandello's Gubbio steadily winds the crank of his camera by day and scribbles with his pen by night, revealing the world both mundane and melodramatic that unfolds in front of his camera. Through Gubbio's narrative--saturated with fantasy and folly--Pirandello grapples with the philosophical implications of modernity. Like much of Pirandello's work, "Shoot!" parodies human weaknesses, drawing attention to the themes of isolation and madness as emerging tendencies in the modern world.
Enhanced by new critical commentaries, "Shoot!" is an entertaining caricature, capturing early twentieth-century Italian filmmaking and revealing its truths as only a parody can.

Sitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage and Gertrude Stein. The films discussed span the sixty years since the Second World War. With three chapters each devoted to Stan Brakhage and Robert Beavers, two each to Hollis Frampton and Jonas Mekas, and single chapters on Marie Menken, Ian Hugo, Andrew Noren, Warren Sonbert, Su Friedrich, Ernie Gehr, and Abigail Child, Eyes Upside Down is the fruit of Sitney's lifelong study of visionary aspirations of the American avant-garde cinema. Sitney's earlier book and critical essays defined the field of serious criticism of the American film avant-garde. He supplies a unique approach, critical, formal and intellectual, rather than sociological, ideological or institutional. Like his earlier book, Eyes Upside Down is a dense, sustained blast of convincing criticism which unfolds through a compelling personal vision. It makes a serious contribution to cinema studies and it is sure to remain in circulation for many years to come.

Sitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage and Gertrude Stein. The films discussed span the sixty years since the Second World War. With three chapters each devoted to Stan Brakhage and Robert Beavers, two each to Hollis Frampton and Jonas Mekas, and single chapters on Marie Menken, Ian Hugo, Andrew Noren, Warren Sonbert, Su Friedrich, Ernie Gehr, and Abigail Child, Eyes Upside Down is the fruit of Sitney's lifelong study of visionary aspirations of the American avant-garde cinema. Sitney's earlier book and critical essays defined the field of serious criticism of the American film avant-garde. He supplies a unique approach, critical, formal and intellectual, rather than sociological, ideological or institutional. Like his earlier book, Eyes Upside Down is a dense, sustained blast of convincing criticism which unfolds through a compelling personal vision. It makes a serious contribution to cinema studies and it is sure to remain in circulation for many years to come.

Visionary Film has been the dominant study of the American avant-garde cinema for twenty-five years. Now P. Adams Sitney has revised the book, adding a new chapter that brings his discussion of the principle genres and the major filmmakers up to the year 2000.

Since the publication of his foundational work, Visionary Film, P. Adams Sitney has been considered one of our most eloquent and insightful interlocutors on the relationship between American film and poetry. His latest study, The Cinema of Poetry, emphasizes the vibrant world of European cinema in addition to incorporating the author's long abiding concerns on American avant-garde cinema. The work is divided into two principal parts, the first dealing with poetry and a trio of films by Dimitri Kirsanoff, Ingmar Bergman, and Andrei Tarkovsky; the second part explores selected American verse with American avant-garde films by Stan Brakhage, Ken Jacobs, and others. Both parts are linked by Pier Paolo Pasolini's theoretical 1965 essay "Il cinema di poesia" where the writer/director describes the use of the literary device of "free indirect discourse," which accentuates the subjective point-of view as well as the illusion of functioning as if without a camera. In other words, the camera is absent, and the experience of the spectator is to plunge into the dreams and consciousness of the characters and images presented in film. Amplifying and applying the concepts advanced by Pasolini, Sitney offers extended readings of works by T. S. Eliot, Wallace Stevens, and Charles Olson to demonstrate how modernist verse strives for the "camera-less" illusion achieved in a range of films that includes Fanny and Alexander, Stalker, Lawrence Jordan's Magic, and several short works by Joseph Cornell.

Tracing the history of modernism in cinema, this study provides readings of a range of classic films made between 1925 and 1980 by such filmmakers as Carl Dreyer, Ingmar Bergman and Robert Bresson. It argues that the act of vision and visual experience are problematized in literary modernism.

First published in 1995 b, P. Adams Sitney's Vital Crises in Italian Cinema has become a work of enduring importance in the study of Italian films produced from 1945-1963. Examining over twenty key works of the period, Sitney identifies and explores the major thematic crises at the heart of seminal films produced by the likes of Vittorio De Sica, Luchino Visconti, Michael Antonioni, and Federico Fellini. The debate over regional dialects and a unified national language find reflection in Visconti's La terra trema and its source, the novel I Malavoglia. The father-son relationship serves as an opportunity to consider the tension between filial loyalty and individuality in works such as Uccellacci e uccellini and Ladri di biciclette. Romantic love juxtaposed with lust against the background of Roman Catholic iconography exemplifies another recurring predicament in the nation's cinema. Rocco i suoi fratelli, La dolce Vita, and Accatone all feature female and male characters grappling with the idea of woman as either the epitome of Marian virtue or Magdalene-like sexuality. With each film under discussion, Sitney provides the relevant political and cultural context to demonstrate how the changes in Italian life found their way into cinematic art. A new afterword extends the range of the study to the early 1970s, as it considers the pastoral ideal deflated by urban reality in Padre Padrone and L'albero degli zoccoli.