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Kurt Kren was a vital figure in Austrian avant-garde cinema of the
postwar period. His structural films--often shot frame-by-frame
following elaborately prescored charts and diagrams--have
influenced filmmakers for decades, even as Kren himself remained a
nomadic and obscure public figure. Kurt Kren, edited by Nicky
Hamlyn, Simon Payne, and A. L. Rees, brings together interviews
with Kren, film scores, and classic, out-of-print essays, alongside
the reflections of contemporary academics and filmmakers, to add
much-needed critical discussion of Kren's legacy. Taken together,
the collection challenges the canonical view of Kren that ignores
his underground lineage and powerful, lyrical imagery.
Drawing on film theory, literary modernism, psychology and art
history, Fields of View elucidates an expanded network of
connections between avant-garde film and wider culture. In this
bold and original work, A.L. Rees identifies three key terms -
'field', 'frame' and 'interval' and charts their use by filmmakers
and theorists such as Dziga Vertov, Sergei Eisenstein, Bruce
Baillie, Maya Deren, Malcolm Le Grice and Werner Nekes, from the
1920s through to the present day. A seminal voice in film culture,
Rees left the incomplete manuscript for this book on his death, and
Simon Payne has subsequently carefully prepared the book for
publication. Fields of View is an important work that establishes a
unique perspective on experimental film.
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