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Filmmaker Index


articles are alphabetized by artist discussed



Abad, Francesco

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Acconci, Vito

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

     “On Video and Its Viewer,” Nos.14/15 , pp.155-164

Agee, James

     The Quiet One : Lyric Poetry of the Fair Deal,” No.13 , pp.81-97

Aguirre, Javier

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Ahwesh, Peggy

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Akerman, Chantal

     “Film: The Front Line,” Nos.14/15 , pp.48-56

     Jean Dielman : Cinematic Interrogation and ‘Amplification’,” No.22 , pp.56-75

     “Visible Narrative, Visible Woman,” No.6 , pp.18-30

Alexander, Tara

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Alisch, Torsten

     “Amateur Trash Films: An Interview with Torsten Alisch,” Nos.30/31 , pp.48-52

Almodovar, Pedro

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Anderson, Jim

     “Report from Toronto,” Nos.10/11 , pp.176-180

Anger, Kenneth

     “Identity and Difference: From Ritual Symbolism to Condensation in Inauguration of the Pleasure Dome ,” No.6 , pp.31-42

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     Rabbit’s Moon : The Peirrot Figure In Theatre, Painting, and Film,” Nos.10/11 , pp.123-139

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Angerame, Dominic

     “The Endless Loop of the Human Continuum: Dominic Angerame’s Deconstruction Site ,” No.25 , pp.108-113

Antal, Istvan

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Antin, Eleanor

     “Constructing Loss: Film and Presence in the Work of Eleanor Antin,” No.29 , pp.34-41

Arnold, Robert

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Arrieta, Adolfo

     “The Experimental Cinema in France,” No.2 , pp.56-58

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Artaud, Antonin

     “For a Cinema of the Central Eye,” No.1 , pp.25-37

Artero, Antonio

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Ashley, Robert

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Atlas, Charles and Merce Cunningham

     Channels/Inserts : Cunningham and Atlas (Continued),” No.12 , pp.126-130

     “From Cimabue to Cunningham: A Discussion with Richard Lorber,” Nos.10/11 , pp.5-17

     Locale : The Collaboration of Merce Cunningham and Charles Atlas,” Nos.10/11 , pp.18-22

Auguston, Paul

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

Avron, Dominique

     “The Experimental Cinema in France,” No.2 , pp.56-58

B, Scott and Beth

     “An Interview with Scott B and Beth B,” Nos.10/11 , pp.158-167

Bacicalupo. Massimo

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Baillie, Bruce

     “Bruce Baillie’s Roslyn Romance (Is It Really True?),” Nos.4/5 , pp.164-166

     Commute by Bruce Baillie,” No.29 , pp.30-33

     “Lines of Sight, A Travelogue,” Nos.35/36 , pp.64-66

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Balcells, Eugenia

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Baldwin, Craig

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Barry, Judith

     “Mirror Spaces: A Review of Video Spaces , Eight Installations,” No.29 , pp.68-78

Bartlett, Scott

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Baruchello, Gianfranco

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Bass, Warren

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Beauvais, Yann

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Three Aspects of French Experimental Film: Interviews with Yann Beauvais, Rose Lowder, and Alain-Alcide Sudre,” Nos.23/24 , pp.102-116

Beavers, Robert

     “An Interview with Robert Beavers,” Nos.32/33 , pp.2-37

     “Between the Place and the Act: Efpsychi ,” Nos.32/33 , pp.52-59

     “Robert Beavers: Observing and Directing Wingseed,” Nos.32/33 , pp.44-51

     Ruskin :  A Film By Robert Beavers,” Nos.32/33 , pp.60-69

     “Writings,” Nos.32/33 , pp.39-42

Beck, Steve

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

Beckman, Erika

     “Imagination and Play: The Films of Erika Beckman,” No.13 , pp.98-112

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Bell, Larry

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Bellmunt, Francesc

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Belson, Jordan

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Benning, James

     “Canvassing the Midwest,” Nos.7/8/9 , pp.218-229

     “Film: The Front Line,” Nos.14/15 , pp.48-56

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Berardinone, Valentina

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Berliner, Alan

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Beroes, Stephanie

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Bertolucci, Bernardo

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Beydler, Gary

     “Film Space: An Outline Study,” Nos.16/17/18 , pp.328-335

     “Six Filmmakers and an Ideal of Composition,” No.3 , pp.39-54

Birnbaum, Dara

     “On Video and Its Viewer,” Nos.14/15 , pp.155-164

Blair, David

     “Wax, or the Discovery of Television Among Bees,” No.28 , pp.89-99

Bloom, Alan

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Bokanowski, Patrice

     “The Experimental Cinema in France,” No.2 , pp.56-58

Bold, Alf

     “Obituary,” No.27 , p.77

Boltanski, Christian

     “The Experimental Cinema in France,” No.2 , pp.56-58

Bonet, Eugeni

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Bottcher, Jurgen

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

Bouhours, Jean-Michel

     “The Experimental Cinema in France,” No.2 , pp.56-58

Bouquerel, Rudolphe

     “The Experimental Cinema in France,” No.2 , pp.56-58

Bragaglia, Anton Giulio

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Brakhage, Stan

     “‘Any Fool can See for Himself’: Notes on Brakhage’s Scrapbook,” Nos.14/15 , pp.23-27

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “Brakhage and the Theory of Montage,” Nos.32/33 , pp.105-129

     “Brakhage’s Dreamscape,” No.6 , pp.43-49

     “Brakhage’s I , II, and III ,” Nos.7/8/9 , pp.234-237

     “Brakhage’s Sincerity III ,” Nos.4/5 , pp.153-156

     “Causation, the Ampliation of Movement and Avant-Garde Film,” Nos.10/11 , pp.61-82

     “Circles of Confusion,” Nos.14/15 , pp.7-13

     “Film: The Front Line,” Nos.14/15 , pp.48-56

     “Grisled Roots: An Interview with Stan Brakhage,” No.26 , pp.56-66

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

     “Letter From Hollis Frampton to Stan Brakhage,” Nos.16/17/18 , pp.212-213

     “Lines of Sight, A Travelogue,” Nos.35/36 , pp.67-69

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Radical Form: Radical Content,” No.22 , p.119

     “Stan Brakhage at Millennium,” Nos.16/17/18 , pp.297-307

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “Structural Film: Revisions, New Versions, and the Artifact,” No.2 , pp.5-13

     “Surrealism and Cinema: A Conversation with Annette Michelson,” No.1 , pp.52-59

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     The Untutored Eye by Marjorie Keller,” No.28 , pp.78-85

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Brand, Bill

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Composing for Film: The Work of Bill Brand,” No.3 , pp.55-61

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

Brecht, Bertlolt

     “German Worker’s Films 1918-1932: Some Thoughts About The Red Front in Film,” Nos.4/5 , pp.5-6

Breer, Robert

     “Film: The Front Line,” Nos.14/15 , pp.48-56

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Robert Breer’s LMNO ,” Nos.4/5 , pp.184-186

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Brener, Tom

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Brentano, Robyn and Andrew Horn

     “Interview with Robyn Brentano and Andrew Horn,” Nos.10/11 , pp.55-60

Bressane, Julio

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

     “Brazilian Avant-Garde: Metacinema in Tristes Tropiques ,” No.6 , pp.82-89

Bresson, Robert

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “Visible Narrative, Visible Woman,” No.6 , pp.18-30

Bromberg, Betzy

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Broughton, James

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

     “Three Films by James Broughton and Joel Singer,” No.2 , pp.114-116

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Brown, Carl

     “Painting the Light Fantastic: Carl Brown,” No.27 , pp.16-22

Brown, Carolyn

     Dune Dance ,” Nos.10/11 , pp.23-27

Brundert, Dagie

     “Ladies and Gentleman, the FBI (Freie Berliner Ischen),” Nos.30/31 , pp.7-11

Brynntrup, Michael

     “Die Statik der Eselbrucken: An Experiment in Experimental Film,” Nos.30/31 , pp.43-47

     “The Death Dances of Michael Brynntrup,” Nos.30/31 , pp.39-42

Buba, Tony

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Buckner, Barbara

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Bulteau, Michel

     “The Experimental Cinema in France,” No.2 , pp.56-58

Buñuel, Luis

     “Medieval Modernism: Buñuel’s Autobiography,” Nos.14/15 , pp.29-34

     “Surrealism and Cinema: A Conversation with Annette Michelson,” No.1 , pp.52-59

     “Synthetic Vision: The Dialectical Imperative of Buñuel’s Las Hurdes ,” Nos.7/8/9 , pp.140-150

     “Toward a Social Cinema,” No.1 , pp.21-24

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Burckhardt, Rudy

     “Notes on four Films by Rudy Burckhardt,” No.3 , pp.126-130

Burns, Norm

     “View of Chicago,” No.12 , pp.36-43

Cadena, Jordi

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Calabiug, Tino

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Calvo, Manolo

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Campbell, Jim
    "Jim Campell: Working in the Open Sphere," No. 37 , pp. 17-24

Campus, Peter

     “Peter Campus at the Whitney,” No.2 , pp.119-122

Candeias, Ozualdo

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

Carman, James

     “Outsider’s Overture: James Carman on James Carman,” Nos.30/31 , pp.72-75

Carrer, Giancarlo

     “Tropical Disease: Towards Development of An Alternative Cinema in Venezuela,” Nos.10/11 , pp.171-175

Cerdá, Jordi

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Chalbaud, Ramon

     “Tropical Disease: Towards Development of An Alternative Cinema in Venezuela,” Nos.10/11 , pp.171-175

Chambers, Jack

     “Jack Chambers’ Hart of London ,” Nos.10/11 , pp.181-185

Charlesworth, Bruce

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Chase, Doris

     “From Cimabue to Cunningham: A Discussion with Richard Lorber,” Nos.10/11 , pp.5-17

Chavarri, Jaime

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Child, Abigail

     “Before Agreement,” No.22 , pp.130-132

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Choi, Sam

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Chomont, Tom

     “Radical Form: Radical Content,” No.22 , pp.124-126

     “Reaching for Oblivion ,” No.3 , pp.122-125

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

Chuma, Yoshiko

     “Yoshiko Chuma: Knocking, Champing and Bumping,” Nos.10/11 , pp.28-32

Citron, Michelle

     “View of Chicago,” No.12 , pp.36-43

Clair, René

     Entr’acte , Paris and Dada,” No.1 , pp.5-11

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Clarke, Shirley

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Cocteau, Jean

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     The Untutored Eye by Marjorie Keller,” No.28 , pp.78-85

Comas, Carles

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Comolli, Jean-Louis

     “The Experimental Cinema in France,” No.2 , pp.56-58

Conner, Bruce

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

     Valse Triste and Mongoloid,” Nos.7/8/9 , pp.248-252

Conrad, Tony

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “Structural Film: Revisions, New Versions, and the Artifact,” No.2 , pp.5-13

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Conrad, Tony and Beverly Grant

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

Cornell, Joseph

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “Surrealism and Cinema: A Conversation with Annette Michelson,” No.1 , pp.52-59

     The Untutored Eye by Marjorie Keller,” No.28 , pp.78-85

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Coronado, Celestino

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Couzin, Sharon

     “View of Chicago,” No.12 , pp.36-43

Crawford, Neelon

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Criado, Nacho

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Cronenberg, David

     “Report from Toronto,” Nos.10/11 , pp.176-180

Currey, Gail

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “View of Chicago,” No.12 , pp.36-43

Curry, Dan

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

D’Agostino, Peter

     “Beyond Narrative: Notes Toward a Theory of Interactive Cinema,” Nos.20/21 , pp.124-125

D’Almeida, Neville Duarte

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

Dalí, Salvador

     “Surrealism and Cinema: A Conversation with Annette Michelson,” No.1 , pp.52-59

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Davies, Molly

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

De Andrade, Oswald

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

De Gregorio, Eduardo

     “The Experimental Cinema in France,” No.2 , pp.56-58

Debiaso, Tom

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Debord, Guy

     “The Experimental Cinema in France,” No.2 , pp.56-58

DeDuve, Thierry

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

Dekeukeleire, Charles

     “(Re)Discovering Charles Dekeukelaire,” Nos.7/8/9 , pp.115-129

Del Amo, Alvaro

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Delphy, Christine

     “British Avant-Garde Film,” No.13 , pp.12-18

Deren, Maya

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     “Not Reconciled,” Nos.16/17/18 , pp.95-97

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

     “Women and Film,” Nos.14/15 , pp.42-47

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Desnos, Robert

     “For a Cinema of the Central Eye,” No.1 , pp.25-37

DeWitt, Tom

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

DiBiaso, Tom

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

Dick, Vivienne

     “Notes on Three Films by Vivienne Dick,” No.6 , pp.90-94

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Dorsky, Nathaniel

    "Love's Refrain--Love's Tri-frain," No.38, pp. 75-78.

     “Nathaniel Dorsky’s Variations and Theme, Nos.35/36 , pp.108-113

Dos Santos, Nelson Pereira

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

Douglas, Stan

     “Mirror Spaces: A Review of Video Spaces , Eight Installations,” No.29 , pp.68-78

Downey, Juan

     “Obituary,” No.27 , p.80

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Downs, Allen

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

Dreyer, Carl Theodore

     “Metaphorical Structures in La Passion de Jean d’Arc,” No.19 , pp.52-84

     “Visible Narrative, Visible Woman,” No.6 , pp.18-30

Dudow, Slatan

     “German Worker’s Films 1918-1932: Some Thoughts About The Red Front in Film,” Nos.4/5 , pp.5-6

Dulac, Germaine

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Dunphy, Laurie

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Duvivier, Eric

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Eggeling, Viking

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

Eisenberg, Daniel

     “Displaced Persons: Daniel Eisenberg Interviewed,” No.27 , pp.48-63

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Eisenstein, Sergei

     “Approaching Borderline ,” Nos.7/8/9 , pp.130-139

     “Eisenstein, Marshall, and Soviet Cinema,” Nos.14/15 , pp.15-21

     “Eisenstein’s Early Work in Expressive Behavior: The Montage of Movement,” No.3 , pp.25-29

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     “Narration and Scenography in the Later Eisenstein,” No.13 , pp.62-80

     “The Avantgarde and Politics,” No.2 , pp.22-28

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Eizykman, Claudine

     “The Experimental Cinema in France,” No.2 , pp.56-58

Elder, Bruce

     “Bruce Elder’s Lamentations ,” No.22 , pp.88-96

     “Interview with Bruce Elder,” No.22 , pp.98-115

Emigholz, Heinz

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

Emshwiller, Ed

     “Remembering Ed Emshwiller,” Nos.23/24 , pp.36-37

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Enomoto, Ryoichi

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Epstein, Jean

     “Cinema and the Romantic Tradtition,” No.1 , pp.38-51

Ewig, Laura

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Export, Valie

     “The Films of Valie Export,” Nos.16/17/18 , pp.181-187

Farley, William

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Fassbinder, Rainer Werner

     “Radical Form: Radical Content,” No.22 , pp.120

Feingold, Ken

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Fejos, Paul

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Feo, Ivan

     “Tropical Disease: Towards Development of An Alternative Cinema in Venezuela,” Nos.10/11 , pp.171-175

Fieschi, Jean-André

     “The Experimental Cinema in France,” No.2 , pp.56-58

Fihman, Guy

     “The Experimental Cinema in France,” No.2 , pp.56-58

Filho, Luiz Rosemberg

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

Filippo, Mary

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Fischinger, Oscar

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Fisher, Holly

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Fisher, Morgan

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Six Filmmakers and an Ideal of Composition,” No.3 , pp.39-54

Fleming, Ann Marie

     “Text for You Take Care Now ,” No.25 , pp.10-13

     “The Queen of Disaster: Ann Marie Fleming,” No.26 , pp.26-32

Florey, Robert

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Forgács, Péter
    "Meanwhile Somewhere: A Conversation with Péter Forgács," No. 37 , pp. 53-66

Frampton, Hollis

     “Arson: A Review of Otherwise Unexplained Fire (1977) by Hollis Frampton,” Nos.4/5 , pp.157-159

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Circles of Confusion,” Nos.14/15 , pp.7-13

     “Hollis Frampton: Three Talks at Millennium,” Nos.16/17/18 , pp.274-294

     “Lines of Sight, A Travelogue,” Nos.35/36 , pp.69-71

     “Reading Zorns Lemma ,” No.2 , pp.38-49

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “Talking About Magellan: An Interview with Hollis Frampton,” Nos.7/8/9 , pp.5-26

     “The Avantgarde and Politics,” No.2 , pp.22-28

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Francine, Francis

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

Franco, Mario

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Franco, Ricardo

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Fried, Howard

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Friedman, Adele

     “View of Chicago,” No.12 , pp.36-43

Friedman, Roberta

     “Beyond Narrative: Notes Toward a Theory of Interactive Cinema,” Nos.20/21 , pp.126-129

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Six Filmmakers and an Ideal of Composition,” No.3 , pp.39-54

Friedrich, Su

     “Female Rage: The Films of Su Friedrich,” No.12 , pp.79-86

     Gently Down the Stream ,” Nos.16/17/18 , pp.195-198

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Radical Form: Radical Content,” No.22 , pp.118-123

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “Women and Film,” Nos.14/15 , pp.42-47

Frye, Brian
    "A Cinema of Possibilities: Interview with Brian Frye," No. 37 , pp. 27-49

Furuhashi, Teiji

     “Mirror Spaces: A Review of Video Spaces , Eight Installations,” No.29 , pp.68-78

     “Remembering Teiji Furuhashi,” No.29 , pp.82-83

Gans, Greg

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Garrel, Phillipe

     “The Experimental Cinema in France,” No.2 , pp.56-58

Gaylor, Robert

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Gehr, Ernie

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Ernie Gehr: For Daniel ,” No. 34 , pp.92-94

     “Ernie Gehr’s Geography ,” No.3 , pp.113-114

     “Signaling Through the Flames: Ernie Gehr’s Signal—Germany on the Air ,” Nos.16/17/18 , pp.169-173

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The Critique of Seeing with One’s Own Eyes: Ernie Gehr’s Untitled (1976),” No.12 , pp.134-136

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Geiser, Janie
    "Puppet Noir," No. 37 , pp. 9-15

Geller, Matthew

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Genet, Jean

     “Reaching for Oblivion ,” No.3 , pp.122-125

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

Gerry, Lyn and Estelle Kirsh

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Gershfield, Burton

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Gerson, Barry

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Gerstein, David

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Gidal, Peter

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Peter Gidal at Millennium,” No.2 , pp.14-22

     “Some Introductory Thoughts on Gidal’s Films and Theories,” No.13 , pp.19-30

Gilette, Frank

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

Gioli, Paolo

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Glabicki, Paul

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Glassmire, Chuck

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Glowczewska, Barbara

     “The Experimental Cinema in France,” No.2 , pp.56-58

Godard, Jean Luc

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Jean Luc Godard’s Sauve Qui Peut La Vie ,” Nos.10/11 , pp.194-199

     Numero Deux : Politics, Pornography, and the Media,” No.3 , pp.72-78

     “Peter Wollen: In Search of Political Film,” Nos.14/15 , pp.61-71

     “Surrealism and Cinema: A Conversation with Annette Michelson,” No.1 , pp.52-59

     “The Avantgarde and Politics,” No.2 , pp.22-28

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “One Plus One: Ideology and Deconstruction in Godard’s Içi et Ailleurs and Comment Ça Va ,” No.6 , pp.98-102

Goldberg, Gary

     “Script, Production Notes, and Drawings from Plates,” No.25 , pp.14-17

Gomez, Jose Miguel

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Gordon, Bette

     “A Partial Report From the 34 th International Berlin Film Festival,” Nos.14/15 , pp.165-172

Gordon, Dana

     “Two Films by Dana Gordon,” Nos.7/8/9 , pp.260-264

Gorewitz, Sholem

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Gottheim, Larry

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Sticking In/To the Landscape,” Nos.4/5 , pp.84-92

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The Forms of Repetition: Larry Gottheim’s Four Shadows,” Nos.4/5 , pp.167-171

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Graham, Dan

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

Grant, Dwinnell

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Grauer, Victor

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Greenaway, Peter

     “Database as a Symbolic Form,” No. 34 , p.39

     “Music and Film, an Interview with Michael Nyman,” Nos.10/11 , pp.223-233

Greenfield, Amy

     “Amy Greenfield,” No.6 , pp.103-106

     “Making Antigone/Rites of Passion ,” No.26 , pp.34-55

Grenier, Vincent

     “An Instant of Representation in a Film by Vincent Grenier,” Nos.7/8/9 , pp.273-278

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

Griffith, D.W.

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

     “Visible Narrative, Visible Woman,” No.6 , pp.18-30

Grifi, Alberto

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Gronau, Anna

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Gruben, Patricia

     “Metatourist in a Metaworld: Patricia Gruben’s Sifted Evidence ,” No.19 , pp.114-119

Guccione, Michael

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Guerin, Jose Luis

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Guerra, Rui

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

Guttenplan, Howard

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “The Diary Cinema of Howard Guttenplan,” No.1 , pp.107-120

Hagiwara, Sagumi

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Hall, Doug

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Hamlyn, Nicky

     “British Avant-Garde Film,” No.13 , pp.12-18

Hammer, Barbara

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Risk-Taking as Alternative Living/Art-Making, or Why I Moved to the Big City,” No.22 , pp.127-129

Hammid, Alexander

     “Not Reconciled,” Nos.16/17/18 , pp.95-97

Handke, Peter

     “Visible Narrative, Visible Woman,” No.6 , pp.18-30

Harr, Karl

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

Haslanger, Martha

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The Films of Martha Haslanger,” No.3 , pp.119-121

     “Women and Film,” Nos.14/15 , pp.42-47

Hawks, Howard

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Hein, Wilhelm  and Birgit

     “Birgit and Wilhelm Hein: From Structural Studies to Now,” No.6 , pp.95-97

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Herbert, James

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Hill, Gary

     “Image/Object, Video/Text: Gary Hill at the Guggenheim,” No.29 , pp.52-61

     “Mirror Spaces: A Review of Video Spaces , Eight Installations,” No.29 , pp.68-78

     “On Video and Its Viewer,” Nos.14/15 , pp.155-164

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Hill, Jerome

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “Jerome Hill’s Film Portrait : Individuation as Artistic Vocation,” Nos.35/36 , pp.89-106

Hirsch, Narcisa

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Hirschbiegel, Oliver

     “Secret Life: New Films by Hamburg Filmmakers,” No.13 , pp.46-61

Hitchcock, Alfred

     “Peter Wollen: In Search of Political Film,” Nos.14/15 , pp.61-71

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Hoberman, J.

     “Independent Film and Popular Culture: Films of J. Hoberman,” No.6 , pp.111-116

Hock, Louis

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The Last Days of Pompeii: Louis Hock’s Southern California,” No.12 , pp.131-133

Hubbard, Christian

     “Radical Form: Radical Content,” No.22 , pp.133-135

Huerga, J. Manuel

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Huillet, Danielle and Jean-Marie Straub

     “A Partial Report From the 34 th International Berlin Film Festival,” Nos.14/15 , pp.165-172

     “Film: The Front Line,” Nos.14/15 , pp.48-56

Humbert, Nicolas and Werner Penzel

     “Nomad’s Land: An Interview with Nicolas Humbert and Werner Penzel about Middle of the Moment ,” Nos.30/31 , pp.35-58

     “Stateless,” Nos.30/31 , pp.31-34

Hutton, Peter

     “The Films of Peter Hutton,” Nos.4/5 , pp.175-178

Iimura, Taka

    "Bringing Ryoan-Ji to the Screen," No. 38 , pp. 65-72.

     “On Film-Installation,” No.2 , pp.74-76

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

    "A Note for MA: Space/Time in the Garden of Ryoan-Ji," No. 38 , pp. 51-63.

Irwin, May

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Jacobs, Ken

     “An Interview with Ken Jacobs,” No.1 , pp.121-128

     “An Interview with Ken Jacobs,” Nos.32/33 , pp.131-140

     “Doctor Jacobs’ Dream Work,” Nos.10/11 , pp.210-218

     “Lines of Sight, A Travelogue,” Nos.35/36 , pp.62-63

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Recycling Cinema: Urban Peasants by Ken Jacobs,” No.6 , pp.117-120

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Jacoby, Robert

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

Jancso, Miklos

     “Landscape During the Battle,” Nos.4/5 , pp.117-121

Janetzko, Cristoph

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

     Sisom ,” Nos.30/31 , p.71

Janetzko, Christoph and Dorothee Wenner

     “Storyboards for Hollywood Killed Me ," No.25 , pp. 18-23

Jarman, Derek

     “Serendipity Into Style: The Queen is Dead,” No.27 , pp.2-14

Jenkins, Patrick

     “Report from Toronto,” Nos.10/11 , pp.176-180

Johnston, Becky

     Sleepless Nights ,” Nos.10/11 , pp.168-170

Jordan, Larry

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

Jost, Jon

     “Notes for Slow Moves ," No.25 , pp.25-29.

     “Out of Context: Some Thoughts on ‘Independence’,” Nos.23/24 , pp.2-14

     “Towards a Radical Popular Cinema; Two Recent Films by Jon Jost,” Nos.4/5 , pp.71-83

Julia, Ignasi

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Junghan, Carl

     “German Worker’s Films 1918-1932: Some Thoughts About The Red Front in Film,” Nos.4/5 , pp.5-6

Jutzi, Piel
     “German Worker’s Films 1918-1932: Some Thoughts About The Red Front in Film,” Nos.4/5 , pp.5-6

Katerina Thomdaki

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Katz, Leandro

     “The Films of Leandro Katz,” Nos.7/8/9 , pp.265-272

Kawanaka, Nobuhiro

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Kaye, Pooh

     “An Interview with Pooh Kaye,” Nos.10/11 , pp.33-42

Keller, Marjorie

     Misconception = the “Division of Labor     “ in the Childbirth Film,” Nos.4/5 , pp.64-70

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Remembering Marjorie Keller,” No.28 , pp.63-77

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Kels, Karl

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

     “The Films of Karl Kels,” Nos.30/31 , pp.18-23

Kemeny, Adalberto and Rodolfo Lustig

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

Kiernan, Joanna

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Myths and Texts: Joanna Kiernan’s Dreamworks ,” Nos.10/11 , pp.204-209

King, Hugh

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Kirsanov, Dmitri

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Klahr, Lewis

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Kleinhans, Chuck

     “View of Chicago,” No.12 , pp.36-43

Klonaris, Maria

     “The Experimental Cinema in France,” No.2 , pp.56-58

Klosky, Linda

     “The Films of Linda Klosky,” Nos.4/5 , pp.179-183

Knecht, John

     “Films by John Knecht,” Nos.7/8/9 , pp.242-247

Kobland, Ken

     “Storyboards, Plans, and Notes for Frame and Flaubert Dreams of Travel ," No.25 , pp. 31-35.

     “Collision Course: Ken Kobland’s Optical Prints,” Nos.7/8/9 , pp.253-259

Koda, Isao

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Kohne, Hille

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

Kos, Paul and Marlene

     “On Video and Its Viewer,” Nos.14/15 , pp.155-164

Kracht, Fritz A.

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Kraus, Chris

     “Beyond the Real and the Imaginary: Chris Kraus’ How to Shoot a Crime and Other Films,” No.19 , pp.130-142

Kren, Kurt

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     “Lord of the Frames: Kurt Kren,” Nos.35/36 , pp.146-152

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

Kristl, Vlado

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

Krumin, Diana

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Kubelka, Peter

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Kubota, Shigeko

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Kubrick, Stanley

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Kuchar, George

     “History and Crass Consciousness: George Kuchar’s Fantasies of Un-power,” Nos.20/21 , pp.151-158

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Lajournade, Jean-Pierre

     “The Experimental Cinema in France,” No.2 , pp.56-58

Land, Owen

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Landow, George

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “George Landow’s Marriage Broker Jones ,” Nos.10/11 , pp.200-203

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

Langdon, Harry

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Laughlin, Kathleen

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

Lawder, Standish

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

LeBrun, Peter

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Lee, Dave

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “The Films of Dave Lee,” No.6 , pp.107-110

Leeser, Tom

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Léger, Fernand

     “British Avant-Garde Film,” No.13 , pp.12-18

     “Fernand Léger’s Ballet Mechanique and the Culture of Fetishization,” No.28 , pp.108-121

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

LeGrice, Malcolm

     “Two Films by Malcolm LeGrice: Dejeuner Sur L’Herbe, After Manet, Giorgione, Etc. (1974), Blackbird Descending (Tense         Alignment) (1977),” No.3 , pp.62-71

Lemaitre, Maurice

     “The Experimental Cinema in France,” No.2 , pp.56-58

Levin, Ben

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Levine, Saul

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

Levitt, Helen

     The Quiet One : Lyric Poetry of the Fair Deal,” No.13 , pp.81-97

Lewis, Brady

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

LeWitt, Sol

     “LeWitt/Childs/Glass: Film/Dance/Music,” Nos.10/11 , pp.43-53

Lipzin, Janis Crystal

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Loeb, Janice

     The Quiet One : Lyric Poetry of the Fair Deal,” No.13 , pp.81-97

Lofredo, Silvio and Vittorio

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Lorber, Richard

     “From Cimabue to Cunningham: A Discussion with Richard Lorber,” Nos.10/11 , pp.5-17

Lowder, Rose

     “Rose Lowder’s Recurrence ,” Nos.16/17/18 , pp.176-179

     “Three Aspects of French Experimental Film: Interviews with Yann Beauvais, Rose Lowder, and Alain-Alcide,” Nos.23/24 , pp.102-116

Lucier, Mary

     “Virtually Real,” No.28 , pp.100-106

Luginbuhl, Sirio

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Lye, Len

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     “Structural Film: Revisions, New Versions, and the Artifact,” No.2 , pp.5-13

Lyman, Ted

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Maas, Willard

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

MacLaine. Cristopher

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Madsen, Jane

     “Jane Madsen’s Hercules Road : The Flâneur and the Shaman,” Nos.35/36 , pp.114-118

Makavejev, Dusan

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

Mangolte, Babette

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Manley, Gerard

     “For a Cinema of the Central Eye,” No.1 , pp.25-37

Mareth, Paul

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Marinai, Franco

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Marker, Chris

     “In the Spiral of Time,” Nos.14/15 , pp.173-177

     “Mirror Spaces: A Review of Video Spaces , Eight Installations,” No.29 , pp.68-78

     “Primitive Projections: Chris Marker’s Silent Movie,” No.29 , pp.42-50


Markopolous, Gregory J.

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “Intergalactic Trance Migration,” Nos.32/33 , pp.76-96

     Ming Green : The Color of Memory,” Nos.32/33 , pp.98-102

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Experimental Cinema in France,” No.2 , pp.56-58

     “The Intuition Space,” Nos.32/33 , pp.71-75

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Martedi, Giovanni

     “The Experimental Cinema in France,” No.2 , pp.56-58

Marti, Stephane

     “The Experimental Cinema in France,” No.2 , pp.56-58

Martinez-Lazaro, E

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73


Martinez-Torres, A.


     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Marton, Pier

     “On Video and Its Viewer,” Nos.14/15 , pp.155-164

Marx, Fred

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Matsumoto, Toshio

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Mays, Peter

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

McAdams, Heather

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

McCall, Anthony

     “Medium Specificity Arguments and Self-Consciously Invented Arts: Film, Video, Photography,” Nos.14/15 , pp.127-153

     “Sixteen Working Statements,” No.2 , pp.29-37

McCall, Anthony, Claire Pajaczkowska, Andrew Tyndall, Jane Weinstock

     “Feminist Approaches to History, Psychoanalysis and Cinema, in Sigmund Freud’s Dora ,” Nos.7/8/9 /, pp.173-185

McCullough, David

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

McDowell, Curt

     “Obituary,” No.19 , p.49

McLaren, Ross

     “Report from Toronto,” Nos.10/11 , pp.176-180

Meitzel, John

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

Mekas, Jonas

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

    "Homeward Bound: Notes and Musings on Jonas Mekas's As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty," No. 38 , pp.35-49

     Notes For Jerome ,” Nos.4/5 , pp.172-174

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Méliès, Georges

     “Cubism and the Cinema of Georges Méliès,” No.19 , pp.94-102

Menken, Marie

     “Structural Film: Revisions, New Versions, and the Artifact,” No.2 , pp.5-13

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

     “Women and Film,” Nos.14/15 , pp.42-47

Meyers, Sidney

     The Quiet One : Lyric Poetry of the Fair Deal,” No.13 , pp.81-97

Michelson, Annette

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Mikesch, Elfie

     “Secret Life: New Films by Hamburg Filmmakers,” No.13 , pp.46-61

Milgrom, Al

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

Minh-Ha, Trinh

     “Interview with Trinh Minh-ha,” No.19 , pp.122-129

Miralda, Antoni

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Miralles, Fina

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Mitchell, Eric

     “New York City Confidential: An Interview with Eric Mitchell,” Nos.7/8/9 , pp.27-36

Mitry, Jean

     “The Experimental Cinema in France,” No.2 , pp.56-58

Mittler, Leo

     “German Worker’s Films 1918-1932: Some Thoughts About The Red Front in Film,” Nos.4/5 , pp.5-6

Monk, Meredith

     Book of Days : An Anthology of Monkwork,” Nos.23/24 , pp.38-47

Monory, Jacques

     “The Experimental Cinema in France,” No.2 , pp.56-58

Moretti, Nanni

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Moritsugu, Jon

     “Plans for Der Elvis ," No.25 , pp. 37-41.

Muller, Matthias

     “Scattering Stars: The Films of Matthias Muller,” Nos.30/31 , pp.80-88

Mulvey, Laura

     “An Interview with Peter Wollen and Laura Mulvey on Riddles of the Sphinx ,” Nos.4/5 , pp.14-32

     “Appropriating the Heroine: An Analysis of Mulvey and Wollen’s Amy! ,” No.12 , pp.87-96

     Crystal Gazing : Seeing Red,” No.13 , pp.31-35

     Riddles of the Sphinx : One or Two Things About Her,” No.2 , pp.95-100

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “Women and Film,” Nos.14/15 , pp.42-47


Muntadas, Antoni

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73


Murphy, J.J.

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Nadis, Elizabeth

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Nakai, Tsuneo

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Narboni, Jean

     “The Experimental Cinema in France,” No.2 , pp.56-58

Nauman, Bruce

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

Nedjar, Michel

     “The Experimental Cinema in France,” No.2 , pp.56-58

Nekes, Werner

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Nelson, Robert

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Robert Nelson’s Suite California Stops and Passes,” Nos.4/5 , pp.160-163

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Nespolo, Ugo

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Neumann, Rudiger

     “Secret Life: New Films by Hamburg Filmmakers,” No.13 , pp.46-61

Noessi, Joaquin

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Noren, Amdrew

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “Sensuality in Charmed Particles: Part IV of The Adventures of the Exquisite Corpse , a film by Andrew Noren,” No.3 , pp.109-112

Nowak, Amram

     “Film Translations of Meredith Monk’s Works,” Nos.10/11 , pp.102-106

O., Dore

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

Odenbach, Marcel

     “Mirror Spaces: A Review of Video Spaces , Eight Installations,” No.29 , pp.68-78

Oliveira, Andre Luiz

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

     “Brazilian Avant-Garde: Metacinema in Tristes Tropiques ,” No.6 , pp.82-89

Omar, Artur

     “Brazilian Avant-Garde: Metacinema in Tristes Tropiques ,” No.6 , pp.82-89

O’Neill, Pat

     “An Interview with Pat O’Neill,” Nos.30/31 , pp.118-131

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Notes for Water and Power ," No.25 , pp. 43-49

     Saugus Series ,” Nos. 16/17/18 , pp.158-161

     “Selective Transparencies: Pat O’Neill’s Recent Films,” No.6 , pp.51-72

     “Six Filmmakers and an Ideal of Composition,” No.3 , pp.39-54

     “The O’Neill Landscape: Four Scenes from Foregrounds,” Nos.4/5 , pp.101-116

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Ono, Yoko

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Otis, Jim

     “Rocky Mountain Formalism: Avant-Garde Film in Colorado,” No.12 , pp.29-35

Oursler, Tony

     “Mirror Spaces: A Review of Video Spaces , Eight Installations,” No.29 , pp.68-78

Ousmane, Sembene

     Xala: A Study in Black Humor,” Nos.7/8/9 , pp.165-172

Pabst, Georg Wilhelm

     “Approaching Borderline ,” Nos.7/8/9 , pp.130-139

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Padrós, Antoni

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Paik, Nam June

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

     “Not Reconciled,” Nos.16/17/18 , pp.95-97

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Palazzolo, Tom

     “View of Chicago,” No.12 , pp.36-43

Pantelli, Lucy

     “British Avant-Garde Film,” No.13 , pp.12-18

Pape, Rotraut

     “Secret Life: New Films by Hamburg Filmmakers,” No.13 , pp.46-61

Parent, Robert

     “Obituary,” No.19 , p.37

Patella, Luca

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Pazos, Carles

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Peixoto, Mario

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

Peterson, Diane

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

Peterson, Sidney

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “Beyond Interpretation: The Lead Shoes as an Abstract Film,” No.25 , pp.78-99

     “Critics, Accountants and Dreams: Interview with Sidney Peterson about The Lead Shoes ,” No.27 , pp.64-75

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124


Peterson, Vickie Z.


     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Picabia, Francis

     Entr’acte , Paris and Dada,” No.1 , pp.5-11

Pitt, Susan

     D’Asparagus ,” Nos.7/8/9 , pp.238-241

POOL

     “Approaching Borderline ,” Nos.7/8/9 , pp.130-139

Portabella, Pere

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73


Porter, Edwin S.


     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Potter, Sally

     “Night at the Opera: Investigating the Heroine in Sally Potter’s Thriller ,” Nos.10/11 , pp.115-122

Powell, Alan

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Rabascall, Joan

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Rainer, Yvonne

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Beginning With Some Advertisements For Criticisms Of Myself, Or Drawing the Dog You May Want to Use to Bite Me With, And Then Going on to Other Matters,” No.6 , pp.5-7

     “Interview with a Woman Who…,” Nos.7/8/9 , pp.37-68

     “Lives of Performers: Annette Michelson Discusses Acting in Journeys From Berlin,” Nos.7/8/9 , pp.69-84

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Moving and Moving from Minimalism to Lives of Performers, Nos.35/36 , pp.80-88

     “Stray Dogs,” Nos.30/31 , pp.66-70

     “Script Pages and Production Notes for Privilege," No.25 , pp. 50-55.

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

     “Women and Film,” Nos.14/15 , pp.42-47

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Rappaport, Mark

     “Film: The Front Line,” Nos.14/15 , pp.48-56

Ravett, Abraham

     “Raking Leaves: Photos, Drawings, Frame Blowups, Working Notes, and Texts from Everything’s For You ,” Nos.23/24 ,  pp.118-127

Ray, Man

     “Structural Film: Revisions, New Versions, and the Artifact,” No.2 , pp.5-13

     “Surrealism and Cinema: A Conversation with Annette Michelson,” No.1 , pp.52-59

Raynal, Jackie

     New York Nights : An Interview with Jackie Raynal,” Nos.7/8/9 , pp.85-94

Reble, Jurgen

     “Chemistry and the Alchemy of Colour,” Nos.30/31 , pp.13-17

Rebolledo, Carlos

     “Tropical Disease: Towards Development of An Alternative Cinema in Venezuela,” Nos.10/11 , pp.171-175

Reidemeister, Helga

     “Secret Life: New Films by Hamburg Filmmakers,” No.13 , pp.46-61

Reitman, Ivan

     “Report from Toronto,” Nos.10/11 , pp.176-180

Rhodes, Liz

     “A Partial Report From the 34 th International Berlin Film Festival,” Nos.14/15 , pp.165-172

     “British Avant-Garde Film,” No.13 , pp.12-18

Rice, Ron

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Richter, Hans

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

     “Hans Richter’s Struggle for Film ,” No.19 , pp.104-112

Rimmer, David

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Ritt, Martin

     “Causation, the Ampliation of Movement and Avant-Garde Film,” Nos.10/11 , pp.61-82

Rivera, Luis

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Rivette, Jacques

     “Film: The Front Line,” Nos.14/15 , pp.48-56


Robbe-Grillet, Alain


     “For a Cinema of the Central Eye,” No.1 , pp.25-37

Robbins, Al

     “Al Robbins Was a Warrior Artist,” No.22 , pp.8-12

Roberts, C. Larry

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Robiolles, Jacques

     “The Experimental Cinema in France,” No.2 , pp.56-58

Rocha, Glauber

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42


Rodriguez-Sanz, C.


     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Roeg, Nicolas

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Romero, George

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Rose, Peter

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

     “The Man Who Could See Far,” No.12 , pp.113-120

Rosenberg, David

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Rosenblatt, Jay

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Rosler, Martha

     “‘And What is Fact Anyway?’ (On a Tape by Martha Rosler),” Nos.4/5 , pp.59-63

     “On Video and Its Viewer,” Nos.14/15 , pp.155-164

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Ross, Allen

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “View of Chicago,” No.12 , pp.36-43

Rossell, Benet

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Rot, Diter

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

Rudavsky, Ondrej

     “Ideas for The Wall or The Bridge," No.25 , pp. 56-57.

Rutcurts, Al

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

Ruttman, Walter

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Ryan, Paul

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

Sachs, Lynne

     "Script, Pages, Storyboards, and Artwork from The House of Science: A Museum of False Facts ," No.25 , pp. 58-61.

Sachs, Stephan

     “A Kaiser, Reconstructed,” Nos.30/31 , pp.76-78

     And Saw What Should Be Done ,” Nos.30/31 , p.79

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

Sakumi, Hagiwara

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Samb-Makaram, Abacar

     “A Partial Report From the 34 th International Berlin Film Festival,” Nos.14/15 , pp.165-172

Samuel, Julian

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Sanguedolce, Steve

     “The Psychotechnology of Everyday Life,” Nos.23/24 , pp.16-24

Santos, Carles

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Sarchielli, Massimo

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Schaffler, Axel

     “Secret Life: New Films by Hamburg Filmmakers,” No.13 , pp.46-61

Schifano, Mario

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Schillinger, Claudia

     “Femme Fatale: The Films of Claudia Schillinger,” Nos.30/31 , pp.58-62

Schnabel, Julian

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Schneemann, Carolee

     “Film and Performance: An Interview with Carolee Schneemann,” Nos.7/8/9 , pp.95-114

     “Lines of Sight, A Travelogue,” Nos.35/36 , pp.66-67

     Plumb Line ,” Nos.10/11 , pp.111-114

     “The Gender and Case of Carolee Schneemann,” Nos.16/17/18 , pp.162-168

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

     “Women and Film,” Nos.14/15 , pp.42-47

Schneider, Ira

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

Schoffel, Joseph

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

School, Brighton

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

Schrader, Paul

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Schroeter, Werner

     “A Partial Report From the 34 th International Berlin Film Festival,” Nos.14/15 , pp.165-172

     “The Experimental Cinema in France,” No.2 , pp.56-58

Sevilla, F. Garcia

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Sganzerla, Rogerio

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

     “Brazilian Avant-Garde: Metacinema in Tristes Tropiques ,” No.6 , pp.82-89

Sharits, Paul

     “Apparent Motion and Film Structure: Paul Sharits’ Shutter Interface ,” No.2 , pp.101-109

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “Obituary,” No.27 , pp.78-79

     “Paul Sharits’ S:TREAM:S:ECTION:S:ECTION:S:S: ECTIONED: Paradigm Lost, or Adventures of the Dialect,” Nos.16/17/18 , pp.190-194

     “Structural Film: Revisions, New Versions, and the Artifact,” No.2 , pp.5-13

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Sherman, Stuart

     “16 mm Postcards by Stuart Sherman,” No.27 , pp.28-34

     “Causation, the Ampliation of Movement and Avant-Garde Film,” Nos.10/11 , pp.61-82

    "Stuart Sherman," No. 38 , p. 80

     “Theatre of Operations: Stuart Sherman’s Fifteen Films,” Nos.10/11 , pp.87-101

Sherwin, Guy

     “British Avant-Garde Film,” No.13 , pp.12-18

Singer, Joel

     “Three Films by James Broughton and Joel Singer,” No.2 , pp.114-116

Sistiaga, Jose Antonio

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Smith, Harry

     “Autobiography in Avant-Garde Film,” No.1 , pp.60-105

     “Structural Film: Revisions, New Versions, and the Artifact,” No.2 , pp.5-13

     “The Animated Abstractions of Harry Smith,” No.6 , pp.73-81

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Smith, Jack

     “In the Grip of the Lobster: Jack Smith Remembered,” Nos.23/24 , pp.60-85

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

Snider, Greta

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Snow, Michael

     “A Completely Open Space: Michael Snow’s La Region Centrale ,” Nos.4/5 , pp.93-100

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

     “Film: The Front Line,” Nos.14/15 , pp.48-56

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     “Michael Snow’s Seated Figures ,” No.22 , pp.30-36

     “Music and Film, an Interview with Michael Nyman,” Nos.10/11 , pp.223-233

     “Not Reconciled,” Nos.16/17/18 , pp.95-97

     “Report from Toronto,” Nos.10/11 , pp.176-180

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “The Avantgarde and Politics,” No.2 , pp.22-28

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

     “The Presents of Michael Snow,” No.12 , pp.97-107

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Snyder, Bob

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Solanas, Fernando and Ottavio Gettino

     Hour of the Furnaces and the Two Avant-Gardes,” Nos.7/8/9 , pp.151-164

Soler, Lorenzo

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Solomon, Phil

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

     “The Frame,” Nos.35/36 , pp.120-135

Sonbert, Warren

     “Causation, the Ampliation of Movement and Avant-Garde Film,” Nos.10/11 , pp.61-82

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

     “Warren Sonbert: A Remembrance,” No.29 , pp.80-81

     “Warren Sonbert’s Noblesse Oblige ,” No.12 , pp.109-111

Sondheim, Alan

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Soukaz, Lionel

     “The Experimental Cinema in France,” No.2 , pp.56-58

Speeth, Christopher

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Sternberg, Barbara

     “Editing and Script Notes for A Trilogy and The Waters Are the Beginning and End of All Things ," No.25 , pp. 63-65

Stracke, Caspar

     “Caspar Stracke’s Speaking Silents,” Nos.30/31 , pp.24-48

     “Silvery Circles: An Interview with Caspar Stracke,” Nos.30/31 , pp.29-30

Strand, Chick

     “Two Films by Chick Strand,” No.2 , pp.110-113

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Straub, Jean-Marie

     “The Avantgarde and Politics,” No.2 , pp.22-28

Strommer, Joan

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

Sudre, Alain-Alcide

     “Three Aspects of French Experimental Film: Interviews with Yann Beauvais, Rose Lowder, and Alain-Alcide Sudre,” Nos.23/24 , pp.102-116

Syberberg, Hans-Jurgen

     “Epiphany for Modernism: Anti-Illusionism and Theatrical Tradition in Syberberg’s Our Hitler ,” Nos.10/11 , pp.141-157

Tafler, David

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Tait, Margaret

     “British Avant-Garde Film,” No.13 , pp.12-18

Tanami, Keiichi

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Tartaglia, Jerry

     “The Making of Fin de Siècle (1989): A Film Journal,” No.25 , pp. 66-71.

Taubin, Amy

     “Amy Taubin’s Bag,” No.12 , pp.68-77

Téchiné, André

     “The Experimental Cinema in France,” No.2 , pp.56-58

Telscher, Klaus

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

     “The Films of Klaus Telscher,” Nos.30/31 , pp.53-57

Thacher, Anita

     “Anita Thacher’s Sea Travels ,” No.12 , pp.121-125

Thomadaki, Katerina

     “The Experimental Cinema in France,” No.2 , pp.56-58

Thompson, Francis

     “The Use of Sound in Francis Thompson’s N.Y., N.Y.,” Nos.10/11 , pp.219-222

Thornton, Leslie

     “The Retreat of Signs and the Failure of Words: Leslie Thornton’s Adynata ,” Nos.16/17/18 , pp.151-157

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Toland, Gregg

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Tonacci, Andrea

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

     “Brazilian Avant-Garde: Metacinema in Tristes Tropiques ,” No.6 , pp.82-89

Trevisan, Joao

     “Brazilian Avant-Garde Cinema: From Limite to Red Light Bandit ,” Nos.4/5 , pp.33-42

Troisi, Massimo

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Trombert, Heidi and Bob Mugge

     “Report from Philadelphia,” Nos.7/8/9 , pp.230-233

Tyndall, Andrew

     “Sixteen Working Statements,” No.2 , pp.29-37

Ungria, Alfonso

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Utrilla, Lluis

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Vale, Jim

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Van Der Keuken, Johan

     “From the World of a Small Businessman: The Mystique of the Camera,” No.22 , pp.51-53

     “Questions,” No.22 , pp.40-50

Vasulka, Woody

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

Velez, Edin

     “The Whitney Biennial: Video,” No.13 , pp.113-115

Veronesi, Luigi

     “From Public Virtue to Private Vice,” No.13 , pp.36-45

Vertov, Dziga

     “Avant-Garde Film and Film Theory,” Nos.4/5 , pp.135-143

     “Causation, the Ampliation of Movement and Avant-Garde Film,” Nos.10/11 , pp.61-82

     “Database as a Symbolic Form,” No. 34 , pp.40-43

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

Vidor, Charles

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Vigo, Jean

     “Jean Vigo’s A Propos de Nice : A Surrealist City Symphony,” No.1 , pp.12-20

     L’Atlante : The Marriage of Music and Image,” Nos.23/24 , pp.26-35

     “Toward a Social Cinema,” No.1 , pp.21-24

Viola, Bill

     “Experiencing Bill Viola’s Buried Secrets ,” No.29 , pp.62-67

     “Metaphysical Structuralism: The Videotapes of Bill Viola,” Nos.20/21 , pp.80-114

     “Mirror Spaces: A Review of Video Spaces , Eight Installations,” No.29 , pp.68-78

Von Praunheim, Rosa

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

     “The Sexual Politics of Rosa Von Praunheim,” No.3 , pp.115-118

Vorkapich, Slavko

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Vostell, Wolf

     “Did the Portapak Cause Video Art?   Notes On the Formation of a New Medium,” No.29 , pp.3-28

Wagner, Sokhi

     “Film Photographs," No.25 , pp. 72-75.

Wallerstein, Mauricio

     “Tropical Disease: Towards Development of An Alternative Cinema in Venezuela,” Nos.10/11 , pp.171-175

Wallin, Michael

     “The Archaeology of Redemption: Toward Archival Film,” No.26 , pp.11-19

Warhol, Andy

    "Doubling the Screen: Andy Warhol's Outer and Inner Space," No 38 , 19-33.

     “Letters from Gidal and Le Grice,” No.2 , pp.50-55

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “Structural Film: Revisions, New Versions, and the Artifact,” No.2 , pp.5-13

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124
     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58
     "Peregrinations of the Avant-Garde: The Chelsea Girls Go to Russia," No 38 , pp. 9-18

     “Towards Irreference: American Avant-Garde Film of the Sixties,” No.19 , pp.22-37

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Watson, Jr., James Sibley

     “The Films of James Sibley Watson, Jr., and Melville Webber: A Reconsideration,” No.19 , pp.40-49

Webber, Melville

     “The Films of James Sibley Watson, Jr., and Melville Webber: A Reconsideration,” No.19 , pp.40-49

Weiland, Joyce

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

     “Women in Avant-Garde Film: An Interview with Annette Michelson,” Nos.16/17/18 , pp.141-148

Weinbren, Grahame

     “Beyond Narrative: Notes Toward a Theory of Interactive Cinema,” Nos.20/21 , pp.126-129

     “In the Ocean of Streams of Story,” No.28 , pp.14-30

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Weiners, John

     “The Gay Sensibility in American Avant-Garde Film,” Nos.4/5 , pp.53-58

Weise, Rick

     “Independent Film in Minneapolis/ St. Paul,” Nos.4/5 , pp.144-152

Welles, Orson

     “Toward a Theory of Film Editing,” No.3 , pp.79-99

Welsby, Chris

     “Landscape, Meteorology, and Chris Welby,” Nos.16/17/18 , pp.208-211

Welsh, Ramona

     “Ladies and Gentleman, the FBI (Freie Berliner Ischen),” Nos.30/31 , pp.7-11

Whitney, John and James

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Whitney, John

     “Database as a Symbolic Form,” No. 34 , p.38

Wiene, Robert

     “The Cabinet of Dr.Kracauer,” No.2 , pp.77-85

Wilchusky, Le Ann Bartok

     “Independent Film in Pittsburgh,” No.3 , pp.100-108

Wilson, David

     “Six Filmmakers and an Ideal of Composition,” No.3 , pp.39-54

     “Structural Film: Revisions, New Versions, and the Artifact. Part Two,” Nos.4/5 , pp.122-134

Wilson, Diana

     “The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28

Wilson, Robert

     “Robert Wilson’s Video 50 ,” Nos.10/11 , pp.107-110

Winkler, Paul

     “Films by Paul Winkler,” No.2 , pp.117-118

Withers, Robert

     “Film Translations of Meredith Monk’s Works,” Nos.10/11 , pp.102-106

Wolff, Robert W.

     “Montage of Voices,” Nos.16/17/18 , pp.250-273

Wollen, Peter

     “An Interview with Peter Wollen and Laura Mulvey on Riddles of the Sphinx ,” Nos.4/5 , pp.14-32

     “Appropriating the Heroine: An Analysis of Mulvey and Wollen’s Amy! ,” No.12 , pp.87-96

     Crystal Gazing : Seeing Red,” No.13 , pp.31-35

     Riddles of the Sphinx : One or Two things About Her,” No.2 , pp.95-100

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Worden, Fred

     “Rocky Mountain Formalism: Avant-Garde Film in Colorado,” No.12 , pp.29-35

Wyborny, Klaus

     “Collective Movements and Solitary Thrusts: German Experimental Film 1920-1990,” Nos.30/31 , pp.90-116

Xifra, Jaume

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73

Yamazaki, Hiroshi

     “The Future of an Illusion(ism): Notes on the New Japanese Avant-Garde Film,” No.2 , pp.86-94

Young, Cristopher

     “The End of Avant-Garde Film,” Nos.16/17/18 , pp.99-124

Zulueta, Ivan

     “There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73




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