“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“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
“The Quiet One
: Lyric Poetry of the Fair Deal,”
No.13
, pp.81-97
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“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
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“Amateur Trash Films: An Interview
with Torsten Alisch,”
Nos.30/31
, pp.48-52
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Report from Toronto,”
Nos.10/11
, pp.176-180
“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
“The Endless Loop of the Human Continuum:
Dominic Angerame’s Deconstruction Site
,”
No.25
, pp.108-113
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“Constructing Loss: Film and Presence
in the Work of Eleanor Antin,”
No.29
, pp.34-41
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“The Experimental Cinema in France,”
No.2
, pp.56-58
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“For a Cinema of the Central Eye,”
No.1
, pp.25-37
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“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
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“The Experimental Cinema in France,”
No.2
, pp.56-58
“An Interview with Scott B and Beth
B,”
Nos.10/11
, pp.158-167
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“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
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“Mirror Spaces: A Review of Video
Spaces , Eight Installations,”
No.29
, pp.68-78
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“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
“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
“Did the Portapak Cause Video Art?
Notes On the Formation of a New Medium,”
No.29
, pp.3-28
“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
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Towards Irreference: American Avant-Garde
Film of the Sixties,”
No.19
, pp.22-37
“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
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“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
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Film Space: An Outline Study,”
Nos.16/17/18
, pp.328-335
“Six Filmmakers and an Ideal of Composition,”
No.3
, pp.39-54
“On Video and Its Viewer,”
Nos.14/15
, pp.155-164
“Wax, or the Discovery of Television
Among Bees,”
No.28
, pp.89-99
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“The Experimental Cinema in France,”
No.2
, pp.56-58
“Obituary,”
No.27
, p.77
“The Experimental Cinema in France,”
No.2
, pp.56-58
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Collective Movements and Solitary
Thrusts: German Experimental Film 1920-1990,”
Nos.30/31
, pp.90-116
“The Experimental Cinema in France,”
No.2
, pp.56-58
“The Experimental Cinema in France,”
No.2
, pp.56-58
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“‘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
“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
“German Worker’s Films 1918-1932:
Some Thoughts About The Red Front in Film,”
Nos.4/5
, pp.5-6
“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
“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
“Interview with Robyn Brentano and
Andrew Horn,”
Nos.10/11
, pp.55-60
“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
“The End of Avant-Garde Film,”
Nos.16/17/18
, pp.99-124
“Visible Narrative, Visible Woman,”
No.6
, pp.18-30
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“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
“Painting the Light Fantastic: Carl
Brown,”
No.27
, pp.16-22
“Dune Dance
,”
Nos.10/11
, pp.23-27
“Ladies and Gentleman, the FBI (Freie
Berliner Ischen),”
Nos.30/31
, pp.7-11
“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
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“The Experimental Cinema in France,”
No.2
, pp.56-58
“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
“Notes on four Films by Rudy Burckhardt,”
No.3
, pp.126-130
“View of Chicago,”
No.12
, pp.36-43
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73
“Peter Campus at the Whitney,”
No.2
, pp.119-122
“Brazilian Avant-Garde Cinema: From
Limite to Red Light
Bandit ,”
Nos.4/5
, pp.33-42
“Outsider’s Overture: James Carman
on James Carman,”
Nos.30/31
, pp.72-75
“Tropical Disease: Towards Development
of An Alternative Cinema in Venezuela,”
Nos.10/11
, pp.171-175
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Tropical Disease: Towards Development
of An Alternative Cinema in Venezuela,”
Nos.10/11
, pp.171-175
“Jack Chambers’ Hart of London
,”
Nos.10/11
, pp.181-185
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“From Cimabue to Cunningham: A Discussion
with Richard Lorber,”
Nos.10/11
, pp.5-17
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“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
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“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
“Yoshiko Chuma: Knocking, Champing
and Bumping,”
Nos.10/11
, pp.28-32
“View of Chicago,”
No.12
, pp.36-43
“Entr’acte
, Paris and Dada,”
No.1
, pp.5-11
“Toward a Theory of Film Editing,”
No.3
, pp.79-99
“Women in Avant-Garde Film: An Interview
with Annette Michelson,”
Nos.16/17/18
, pp.141-148
“Autobiography in Avant-Garde Film,”
No.1
, pp.60-105
“The Untutored Eye
by Marjorie Keller,”
No.28
, pp.78-85
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“The Experimental Cinema in France,”
No.2
, pp.56-58
“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
“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
“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
“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
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“View of Chicago,”
No.12
, pp.36-43
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Report from Toronto,”
Nos.10/11
, pp.176-180
“The End of Avant-Garde Film,”
Nos.16/17/18
, pp.99-124
“View of Chicago,”
No.12
, pp.36-43
“The End of Avant-Garde Film,”
Nos.16/17/18
, pp.99-124
“Beyond Narrative: Notes Toward a
Theory of Interactive Cinema,”
Nos.20/21
, pp.124-125
“Brazilian Avant-Garde Cinema: From
Limite to Red Light
Bandit ,”
Nos.4/5
, pp.33-42
“Surrealism and Cinema: A Conversation
with Annette Michelson,”
No.1
, pp.52-59
“Toward a Theory of Film Editing,”
No.3
, pp.79-99
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“Brazilian Avant-Garde Cinema: From
Limite to Red Light
Bandit ,”
Nos.4/5
, pp.33-42
“The Experimental Cinema in France,”
No.2
, pp.56-58
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“The Experimental Cinema in France,”
No.2
, pp.56-58
“Did the Portapak Cause Video Art?
Notes On the Formation of a New Medium,”
No.29
, pp.3-28
“(Re)Discovering Charles Dekeukelaire,”
Nos.7/8/9
, pp.115-129
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“British Avant-Garde Film,”
No.13
, pp.12-18
“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
“For a Cinema of the Central Eye,”
No.1
, pp.25-37
“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
“Avant-Garde Film and Film Theory,”
Nos.4/5
, pp.135-143
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“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
“Nathaniel Dorsky’s Variations
and Theme, ”
Nos.35/36
, pp.108-113
“Brazilian Avant-Garde Cinema: From
Limite to Red Light
Bandit ,”
Nos.4/5
, pp.33-42
“Mirror Spaces: A Review of Video
Spaces , Eight Installations,”
No.29
, pp.68-78
“Obituary,”
No.27
, p.80
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“Metaphorical Structures in La
Passion de Jean d’Arc,”
No.19
, pp.52-84
“Visible Narrative, Visible Woman,”
No.6
, pp.18-30
“German Worker’s Films 1918-1932:
Some Thoughts About The Red Front in Film,”
Nos.4/5
, pp.5-6
“Women in Avant-Garde Film: An Interview
with Annette Michelson,”
Nos.16/17/18
, pp.141-148
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“Towards Irreference: American Avant-Garde
Film of the Sixties,”
No.19
, pp.22-37
“Collective Movements and Solitary
Thrusts: German Experimental Film 1920-1990,”
Nos.30/31
, pp.90-116
“Displaced Persons: Daniel Eisenberg
Interviewed,”
No.27
, pp.48-63
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“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
“The Experimental Cinema in France,”
No.2
, pp.56-58
“Bruce Elder’s Lamentations
,”
No.22
, pp.88-96
“Interview with Bruce Elder,”
No.22
, pp.98-115
“Collective Movements and Solitary
Thrusts: German Experimental Film 1920-1990,”
Nos.30/31
, pp.90-116
“Remembering Ed Emshwiller,”
Nos.23/24
, pp.36-37
“Towards Irreference: American Avant-Garde
Film of the Sixties,”
No.19
, pp.22-37
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“Cinema and the Romantic Tradtition,”
No.1
, pp.38-51
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“The Films of Valie Export,”
Nos.16/17/18
, pp.181-187
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“Radical Form: Radical Content,”
No.22
, pp.120
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“Tropical Disease: Towards Development
of An Alternative Cinema in Venezuela,”
Nos.10/11
, pp.171-175
“The Experimental Cinema in France,”
No.2
, pp.56-58
“The Experimental Cinema in France,”
No.2
, pp.56-58
“Brazilian Avant-Garde Cinema: From
Limite to Red Light
Bandit ,”
Nos.4/5
, pp.33-42
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“The End of Avant-Garde Film,”
Nos.16/17/18
, pp.99-124
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“Six Filmmakers and an Ideal of Composition,”
No.3
, pp.39-54
“Text for You Take Care Now
,”
No.25
, pp.10-13
“The Queen of Disaster: Ann Marie
Fleming,”
No.26
, pp.26-32
“The Western Edge: Oil of L.A. and the Machined Image,” No.12 , pp.8-28
“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
“The Gay Sensibility in American Avant-Garde
Film,”
Nos.4/5
, pp.53-58
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“View of Chicago,”
No.12
, pp.36-43
“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
“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
“Mirror Spaces: A Review of Video
Spaces , Eight Installations,”
No.29
, pp.68-78
“Remembering Teiji Furuhashi,”
No.29
, pp.82-83
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“The Experimental Cinema in France,”
No.2
, pp.56-58
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“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
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“Reaching for Oblivion
,”
No.3
, pp.122-125
“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
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“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
“Did the Portapak Cause Video Art?
Notes On the Formation of a New Medium,”
No.29
, pp.3-28
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“The Experimental Cinema in France,”
No.2
, pp.56-58
“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
“Script, Production Notes, and Drawings
from Plates,”
No.25
, pp.14-17
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“A Partial Report From the 34
th International Berlin Film Festival,”
Nos.14/15
, pp.165-172
“Two Films by Dana Gordon,”
Nos.7/8/9
, pp.260-264
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“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
“Did the Portapak Cause Video Art?
Notes On the Formation of a New Medium,”
No.29
, pp.3-28
“The End of Avant-Garde Film,”
Nos.16/17/18
, pp.99-124
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“Database as a Symbolic Form,”
No. 34
, p.39
“Music and Film, an Interview with
Michael Nyman,”
Nos.10/11
, pp.223-233
“Amy Greenfield,”
No.6
, pp.103-106
“Making Antigone/Rites of Passion
,”
No.26
, pp.34-55
“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
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“Metatourist in a Metaworld: Patricia
Gruben’s Sifted Evidence
,”
No.19
, pp.114-119
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Brazilian Avant-Garde Cinema: From
Limite to Red Light
Bandit ,”
Nos.4/5
, pp.33-42
“Autobiography in Avant-Garde Film,”
No.1
, pp.60-105
“The Diary Cinema of Howard Guttenplan,”
No.1
, pp.107-120
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“British Avant-Garde Film,”
No.13
, pp.12-18
“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
“Not Reconciled,”
Nos.16/17/18
, pp.95-97
“Visible Narrative, Visible Woman,”
No.6
, pp.18-30
“Structural Film: Revisions, New Versions,
and the Artifact. Part Two,”
Nos.4/5
, pp.122-134
“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
“The End of Avant-Garde Film,”
Nos.16/17/18
, pp.99-124
“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
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“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
“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
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“Secret Life: New Films by Hamburg
Filmmakers,”
No.13
, pp.46-61
“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
“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
“Radical Form: Radical Content,”
No.22
, pp.133-135
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“A Partial Report From the 34
th International Berlin Film Festival,”
Nos.14/15
, pp.165-172
“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
“The Films of Peter Hutton,”
Nos.4/5
, pp.175-178
“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
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“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
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“The Gay Sensibility in American Avant-Garde
Film,”
Nos.4/5
, pp.53-58
“Landscape During the Battle,”
Nos.4/5
, pp.117-121
“Collective Movements and Solitary
Thrusts: German Experimental Film 1920-1990,”
Nos.30/31
, pp.90-116
“Sisom
,”
Nos.30/31
, p.71
“Storyboards for Hollywood Killed
Me ,"
No.25
, pp. 18-23
“Serendipity Into Style: The Queen
is Dead,”
No.27
, pp.2-14
“Report from Toronto,”
Nos.10/11
, pp.176-180
“Sleepless Nights
,”
Nos.10/11
, pp.168-170
“Autobiography in Avant-Garde Film,”
No.1
, pp.60-105
“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
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“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
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“The Films of Leandro Katz,”
Nos.7/8/9
, pp.265-272
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“An Interview with Pooh Kaye,”
Nos.10/11
, pp.33-42
“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
“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
“Brazilian Avant-Garde Cinema: From
Limite to Red Light
Bandit ,”
Nos.4/5
, pp.33-42
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“Myths and Texts: Joanna Kiernan’s
Dreamworks ,”
Nos.10/11
, pp.204-209
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“Toward a Theory of Film Editing,”
No.3
, pp.79-99
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“View of Chicago,”
No.12
, pp.36-43
“The Experimental Cinema in France,”
No.2
, pp.56-58
“The Films of Linda Klosky,”
Nos.4/5
, pp.179-183
“Films by John Knecht,”
Nos.7/8/9
, pp.242-247
“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
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“Collective Movements and Solitary
Thrusts: German Experimental Film 1920-1990,”
Nos.30/31
, pp.90-116
“On Video and Its Viewer,”
Nos.14/15
, pp.155-164
Kracht, Fritz A.
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“Beyond the Real and the Imaginary:
Chris Kraus’ How to Shoot a Crime
and Other Films,”
No.19
, pp.130-142
“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
“Collective Movements and Solitary
Thrusts: German Experimental Film 1920-1990,”
Nos.30/31
, pp.90-116
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“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
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“Women in Avant-Garde Film: An Interview
with Annette Michelson,”
Nos.16/17/18
, pp.141-148
“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
“The Experimental Cinema in France,”
No.2
, pp.56-58
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“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
“Toward a Theory of Film Editing,”
No.3
, pp.79-99
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“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
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“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
“Two Films by Malcolm LeGrice:
Dejeuner Sur L’Herbe, After Manet, Giorgione, Etc.
(1974), Blackbird Descending (Tense
Alignment)
(1977),”
No.3
, pp.62-71
“The Experimental Cinema in France,”
No.2
, pp.56-58
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“Structural Film: Revisions, New Versions,
and the Artifact. Part Two,”
Nos.4/5
, pp.122-134
“The Quiet One
: Lyric Poetry of the Fair Deal,”
No.13
, pp.81-97
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“LeWitt/Childs/Glass: Film/Dance/Music,”
Nos.10/11
, pp.43-53
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“The Quiet One
: Lyric Poetry of the Fair Deal,”
No.13
, pp.81-97
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“From Cimabue to Cunningham: A Discussion
with Richard Lorber,”
Nos.10/11
, pp.5-17
“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
“Virtually Real,”
No.28
, pp.100-106
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Letters from Gidal and Le Grice,”
No.2
, pp.50-55
“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
“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
“Jane Madsen’s Hercules Road
: The Flâneur and the Shaman,”
Nos.35/36
, pp.114-118
“Structural Film: Revisions, New Versions,
and the Artifact. Part Two,”
Nos.4/5
, pp.122-134
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“For a Cinema of the Central Eye,”
No.1
, pp.25-37
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“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
“The Experimental Cinema in France,”
No.2
, pp.56-58
“The Experimental Cinema in France,”
No.2
, pp.56-58
“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
“On Video and Its Viewer,”
Nos.14/15
, pp.155-164
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“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
“Feminist Approaches to History, Psychoanalysis
and Cinema, in Sigmund Freud’s Dora
,”
Nos.7/8/9
/, pp.173-185
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“Obituary,”
No.19
, p.49
“Report from Toronto,”
Nos.10/11
, pp.176-180
“The Gay Sensibility in American Avant-Garde
Film,”
Nos.4/5
, pp.53-58
“Autobiography in Avant-Garde Film,” No.1 , pp.60-105
“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
“Cubism and the Cinema of Georges
Méliès,”
No.19
, pp.94-102
“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
“The Quiet One
: Lyric Poetry of the Fair Deal,”
No.13
, pp.81-97
“Women in Avant-Garde Film: An Interview
with Annette Michelson,”
Nos.16/17/18
, pp.141-148
“Secret Life: New Films by Hamburg
Filmmakers,”
No.13
, pp.46-61
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“Interview with Trinh Minh-ha,”
No.19
, pp.122-129
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“New York City Confidential: An Interview
with Eric Mitchell,”
Nos.7/8/9
, pp.27-36
“The Experimental Cinema in France,”
No.2
, pp.56-58
“German Worker’s Films 1918-1932:
Some Thoughts About The Red Front in Film,”
Nos.4/5
, pp.5-6
“Book of Days
: An Anthology of Monkwork,”
Nos.23/24
, pp.38-47
“The Experimental Cinema in France,”
No.2
, pp.56-58
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Plans for Der Elvis
,"
No.25
, pp. 37-41.
“Scattering Stars: The Films of Matthias
Muller,”
Nos.30/31
, pp.80-88
“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
“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
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“The Experimental Cinema in France,”
No.2
, pp.56-58
“Did the Portapak Cause Video Art?
Notes On the Formation of a New Medium,”
No.29
, pp.3-28
“The Experimental Cinema in France,”
No.2
, pp.56-58
“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
“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
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Secret Life: New Films by Hamburg
Filmmakers,”
No.13
, pp.46-61
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“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
“Film Translations of Meredith Monk’s
Works,”
Nos.10/11
, pp.102-106
“Collective Movements and Solitary
Thrusts: German Experimental Film 1920-1990,”
Nos.30/31
, pp.90-116
“Mirror Spaces: A Review of Video
Spaces , Eight Installations,”
No.29
, pp.68-78
“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
“Brazilian Avant-Garde: Metacinema
in Tristes Tropiques ,”
No.6
, pp.82-89
“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
“Towards Irreference: American Avant-Garde
Film of the Sixties,”
No.19
, pp.22-37
“Rocky Mountain Formalism: Avant-Garde
Film in Colorado,”
No.12
, pp.29-35
“Mirror Spaces: A Review of Video
Spaces , Eight Installations,”
No.29
, pp.68-78
“Xala:
A Study in Black Humor,”
Nos.7/8/9
, pp.165-172
“Approaching Borderline
,”
Nos.7/8/9
, pp.130-139
“Toward a Theory of Film Editing,”
No.3
, pp.79-99
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“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
“View of Chicago,”
No.12
, pp.36-43
“British Avant-Garde Film,”
No.13
, pp.12-18
“Secret Life: New Films by Hamburg
Filmmakers,”
No.13
, pp.46-61
“Obituary,”
No.19
, p.37
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Brazilian Avant-Garde Cinema: From
Limite to Red Light
Bandit ,”
Nos.4/5
, pp.33-42
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“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
“Entr’acte
, Paris and Dada,”
No.1
, pp.5-11
“D’Asparagus
,”
Nos.7/8/9
, pp.238-241
“Approaching Borderline
,”
Nos.7/8/9
, pp.130-139
“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
“Night at the Opera: Investigating
the Heroine in Sally Potter’s Thriller
,”
Nos.10/11
, pp.115-122
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“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
“Film: The Front Line,”
Nos.14/15
, pp.48-56
“Raking Leaves: Photos, Drawings,
Frame Blowups, Working Notes, and Texts from Everything’s For You
,”
Nos.23/24
, pp.118-127
“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
“New York Nights
: An Interview with Jackie Raynal,”
Nos.7/8/9
, pp.85-94
“Chemistry and the Alchemy of Colour,”
Nos.30/31
, pp.13-17
“Tropical Disease: Towards Development
of An Alternative Cinema in Venezuela,”
Nos.10/11
, pp.171-175
“Secret Life: New Films by Hamburg
Filmmakers,”
No.13
, pp.46-61
“Report from Toronto,”
Nos.10/11
, pp.176-180
“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
“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
“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
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“Causation, the Ampliation of Movement
and Avant-Garde Film,”
Nos.10/11
, pp.61-82
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“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
“Al Robbins Was a Warrior Artist,”
No.22
, pp.8-12
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“The Experimental Cinema in France,”
No.2
, pp.56-58
“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
“Toward a Theory of Film Editing,”
No.3
, pp.79-99
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“The Man Who Could See Far,”
No.12
, pp.113-120
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“‘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
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“View of Chicago,”
No.12
, pp.36-43
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Collective Movements and Solitary
Thrusts: German Experimental Film 1920-1990,”
Nos.30/31
, pp.90-116
“Ideas for The Wall
or The Bridge,"
No.25
, pp. 56-57.
“Autobiography in Avant-Garde Film,”
No.1
, pp.60-105
“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
“Did the Portapak Cause Video Art?
Notes On the Formation of a New Medium,”
No.29
, pp.3-28
"Script, Pages, Storyboards, and Artwork
from The House of Science: A Museum of False Facts
,"
No.25
, pp. 58-61.
“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
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“A Partial Report From the 34
th International Berlin Film Festival,”
Nos.14/15
, pp.165-172
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“The Psychotechnology of Everyday
Life,”
Nos.23/24
, pp.16-24
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Secret Life: New Films by Hamburg
Filmmakers,”
No.13
, pp.46-61
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Femme Fatale: The Films of Claudia
Schillinger,”
Nos.30/31
, pp.58-62
“Women in Avant-Garde Film: An Interview
with Annette Michelson,”
Nos.16/17/18
, pp.141-148
“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
“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
“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
“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
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“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
“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
“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
“Theatre of Operations: Stuart Sherman’s
Fifteen Films,”
Nos.10/11
, pp.87-101
“British Avant-Garde Film,”
No.13
, pp.12-18
“Three Films by James Broughton and
Joel Singer,”
No.2
, pp.114-116
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“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
“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
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“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
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“Hour of the Furnaces
and the Two Avant-Gardes,”
Nos.7/8/9
, pp.151-164
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“The Frame,”
Nos.35/36
, pp.120-135
“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
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“The Experimental Cinema in France,”
No.2
, pp.56-58
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“Editing and Script Notes for A
Trilogy and The Waters
Are the Beginning and End of All Things
,"
No.25
, pp. 63-65
“Caspar Stracke’s Speaking Silents,”
Nos.30/31
, pp.24-48
“Silvery Circles: An Interview with
Caspar Stracke,”
Nos.30/31
, pp.29-30
“Two Films by Chick Strand,”
No.2
, pp.110-113
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“The Avantgarde and Politics,”
No.2
, pp.22-28
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“Three Aspects of French Experimental
Film: Interviews with Yann Beauvais, Rose Lowder, and Alain-Alcide Sudre,”
Nos.23/24
, pp.102-116
“Epiphany for Modernism: Anti-Illusionism
and Theatrical Tradition in Syberberg’s Our Hitler
,”
Nos.10/11
, pp.141-157
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“British Avant-Garde Film,”
No.13
, pp.12-18
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“The Making of Fin de Siècle
(1989): A Film Journal,”
No.25
, pp. 66-71.
“Amy Taubin’s Bag,”
No.12
, pp.68-77
“The Experimental Cinema in France,”
No.2
, pp.56-58
“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
“Anita Thacher’s Sea Travels
,”
No.12
, pp.121-125
“The Experimental Cinema in France,”
No.2
, pp.56-58
“The Use of Sound in Francis Thompson’s
N.Y., N.Y.,”
Nos.10/11
, pp.219-222
“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
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“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
“Brazilian Avant-Garde Cinema: From
Limite to Red Light
Bandit ,”
Nos.4/5
, pp.33-42
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“Report from Philadelphia,”
Nos.7/8/9
, pp.230-233
“Sixteen Working Statements,”
No.2
, pp.29-37
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“From the World of a Small Businessman:
The Mystique of the Camera,”
No.22
, pp.51-53
“Questions,”
No.22
, pp.40-50
“Did the Portapak Cause Video Art?
Notes On the Formation of a New Medium,”
No.29
, pp.3-28
“The Whitney Biennial: Video,”
No.13
, pp.113-115
“From Public Virtue to Private Vice,”
No.13
, pp.36-45
“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
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“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
“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
“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
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“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.
“Tropical Disease: Towards Development
of An Alternative Cinema in Venezuela,”
Nos.10/11
, pp.171-175
“The Archaeology of Redemption: Toward
Archival Film,”
No.26
, pp.11-19
“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
“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
“The Films of James Sibley Watson,
Jr., and Melville Webber: A Reconsideration,”
No.19
, pp.40-49
“The Films of James Sibley Watson,
Jr., and Melville Webber: A Reconsideration,”
No.19
, pp.40-49
“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
“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
“The Gay Sensibility in American Avant-Garde
Film,”
Nos.4/5
, pp.53-58
“Independent Film in Minneapolis/
St. Paul,”
Nos.4/5
, pp.144-152
“Toward a Theory of Film Editing,”
No.3
, pp.79-99
“Landscape, Meteorology, and Chris
Welby,”
Nos.16/17/18
, pp.208-211
“Ladies and Gentleman, the FBI (Freie
Berliner Ischen),”
Nos.30/31
, pp.7-11
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“Database as a Symbolic Form,”
No. 34
, p.38
“The Cabinet of Dr.Kracauer,”
No.2
, pp.77-85
“Independent Film in Pittsburgh,”
No.3
, pp.100-108
“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
“The Western Edge: Oil of L.A. and
the Machined Image,”
No.12
, pp.8-28
“Robert Wilson’s Video 50
,”
Nos.10/11
, pp.107-110
“Films by Paul Winkler,”
No.2
, pp.117-118
“Film Translations of Meredith Monk’s
Works,”
Nos.10/11
, pp.102-106
“Montage of Voices,”
Nos.16/17/18
, pp.250-273
“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
“Rocky Mountain Formalism: Avant-Garde
Film in Colorado,”
No.12
, pp.29-35
“Collective Movements and Solitary
Thrusts: German Experimental Film 1920-1990,”
Nos.30/31
, pp.90-116
“There is an Independent Cinema in
Spain, But…,”
No.2
, pp.59-73
“The Future of an Illusion(ism): Notes
on the New Japanese Avant-Garde Film,”
No.2
, pp.86-94
“The End of Avant-Garde Film,”
Nos.16/17/18
, pp.99-124
“There is an Independent Cinema in Spain, But…,” No.2 , pp.59-73