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

&nb