Film

After Cinema by Heinz Peter Schwerfel (Text by) Discovering the potential of video and film art An informative, inspiring, richly illustrated book on contemporary moving-image art. This book sets out to use the latest technologies to short-circuit the universally understandable language of the mass media and to make art once again a critical mirror of its time. Around sixty artists from more than twenty countries are presented in eight chapters, that address social, political, and scientific themes (racism, climate change, capitalism, eccentricity, sex, zeitgeist, and fashionable and frightening technologies) in a way that is playful and innovative.

Cauleen Smith: Breaking Cinema by Cauleen Smith (Artist); Romi Crawford (Text by) A compact introduction to Cauleen Smith's experimental, imaginative films incorporating science fiction, Afrofuturism and contemporary Chicago culture Since making her first feature while a student at UCLA, Los Angeles-based artist Cauleen Smith (born 1967) has rooted her work firmly within the discourse of mid-20th-century experimental film. Drawing from structuralism, moving images and science fiction (combined with elements of the more recent Afrofuturist movement), her works offer a phenomenological experience for both its participants and its audience. A portable, introductory volume, Breaking Cinema is a quick yet thorough guide to Smith's filmmaking. It features stills from a decade of works, including Space Is the Place (her tribute to the Sun Ra Arkestra), Remote Viewing and Lessons in Semaphore. Art historian Romi Crawford, professor at the School of the Art Institute of Chicago, elucidates this critical phase of the artist's career, and how Smith recasts film history in the context of the artistic and cultural ferment of Chicago's South Side.

Color in Motion: Chromatic Explorations of Cinema by Jessica Niebel (Editor); Sophia Serrano (Editor); Jacqueline Stewart (Foreword by); Alexandra James Salichs (Text by); Kirsten Moana Thompson (Text by) From early cinema to the digital era, Color in Motion explores the vibrant history of color on screen The art of producing color in movies is a fascinating process with a long history. Many people don't realize that, as early as the 1890s, much of silent cinema was in color. They also may not know that women were the main workforce behind the techniques that first produced these effects, a tradition that continued as the practice evolved. Breakthroughs in color technology have created ongoing opportunities for filmmakers to experiment with new forms of narrative and emotional storytelling. Spectacular, psychological and sensory, color has become an integral part of the cinematic experience. From the earliest hand-painted films to Technicolor and today's digital cinema, Color in Motion takes readers on a journey through the evolution and significance of color in film. Presenting insightful analysis, engaging case studies and inspiring conversations with scholars and experts in the field, with topics ranging from animation to the intersections of color and race in cinema, it traces the historical development of color technologies and their impact onscreen. Incorporating vivid images of color films throughout history--Serpentine Dance, The Cabinet of Dr. Caligari, Fantasia, The Red Shoes, Vertigo, West Side Story, 2001: A Space Odyssey, Moonlight and more, as well as new multispectral scans of rare silent-era film prints--this essential volume celebrates color's enduring influence on the medium of film.

Curating the Moving Image by Mark Nash In Curating the Moving Image, influential curator and theorist Mark Nash draws on his work at Documenta11, the Venice Biennale, and elsewhere to explore the possibilities of contemporary curation. Constructing this richly illustrated book as a curatorial project in and of itself, Nash outlines several key concepts that range from exhibition architecture and curating as an affective and artistic practice to post-cold war aesthetics and contemporary Chinese art. Throughout these essays on contemporary art, film, and installation, Nash offers critical commentary and reflection on exhibitions he has curated, including those that focus on socialist and utopian ideals following the end of the Cold War. He also folds curating into a discussion of forms of artistic production that are connected to alternative trajectories of collective and collaborative practice. Ultimately, Nash demonstrates that the art world and contemporary curatorial practice constitute some of the most important tools for social and aesthetic exchange in the twenty-first century.

Feminist Worldmaking and the Moving Image by Erika Balsom (Editor); Hila Peleg (Editor) Intersectional, intergenerational, and international perspectives on nonfiction filmmaking by women, generously illustrated, with film stills and other images. This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle-a way of not only picturing the world but remaking it. The contributors consider key decolonial filmmakers, including Trinh T. Minh-ha and Sarah Maldoror; explore collectively produced films with ties to women's liberation movements in different countries; and investigate the cinematic expressions of tensions and alliances between feminism and anti-imperialist struggles. They grapple with the need for a broader more inclusive definition of the term "feminism"; meditate on the figure of the grandmother; reflect on realist aesthetics; and ask what a feminist film historiography might look like. The book, generously illustrated with film stills and other images, many in color, offers ten original texts, two conversations, and eight short essays composed in response to historical texts written by filmmakers. The historical texts, half of which are published in English for the first time, appear alongside the essays. Contributors Helena Amiradżibi, Madeleine Bernstorff, Teresa Castro, Counter Encounters (Laura Huertas Millan, Onyeka Igwe, Rachael Rakes), Ayanna Dozier, Forough Farrokhzad, Safi Faye, Devika Girish, Elena Gorfinkel, Haneda Sumiko, Shai Heredia, Juliet Jacques, Sarah Keller, Nzingha Kendall, Julia Lesage, Beatrice Loayza, Janaina Oliveira, Lakshmi Padmanabhan, Yasmina Price, Elizabeth Ramirez-Soto, Pooja Rangan, Lis Rhodes, Sara Saljoughi, Rasha Salti, Isabel Segui, Chick Strand, Monika Talarczyk, Trinh T. Minh-ha, Fran oise Verg s, Claudia von Alemann, Mitsuyo Wada-Marciano, Shilyh Warren, Giovanna Zapperi

Film Noir Portraits by Tony Nourmand (Editor); Paul Duncan (Text by) With its singular focus on the very best portrait photography of the Film Noir era, every page of this coffee table volume is rich in brooding atmosphere. The portraits were taken by premiere studio photographers like Robert Coburn, Ernest Bachrach and A.L. Whitey. Their remarkable ability to exaggerate the play of shadow and light to dramatic effect is the reason that their work still has the same ability to arrest the viewer as it did in the 1940s. The photographs remain some of the most innovative and striking portraits in the history of cinema.

Horror Caviar by A24 (Produced by) Recipes inspired by Alien; Audition; The Blob; Blood and Black Lace; Blood Dinner; The Boxer's Omen; Candyman; The Company of Wolves; Daughters of Darkness; Def by Temptation; Eve's Bayou; Eyes Without a Face; Ganja & Hess; Haxan; House; Matango; Midsommar; Pet Sematary; Possession; Raw; Rosemary's Baby; The Seventh Victim; The Shining; The Slumber Party Massacre; Suspiria; The Texas Chainsaw Massacre 2; Trouble Every Day; Valerie and Her Week of Wonders; The Witch.

House of Psychotic Women by Kier-La Janisse In 2012, a book debuted that would go on to canonical status and usher in a new way of writing about film. Kier-La Janisse's HOUSE OF PSYCHOTIC WOMEN is an autobiographical exploration of female neurosis in horror and exploitation films that examines hundreds of films through a daringly personal lens. In this pioneering work, anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and a consideration of female madness, both onscreen and off. To mark its 10th anniversary, Kier-La Janisse and FAB Press have reteamed to produce an expanded edition the book, featuring new writing on 100 more films - many of which were inspired in part by the book itself - and hundreds of new images. This first pressing of the Expanded Edition has been issued as a large format hardcover. Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - 'the eccentric' - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. This sharply-designed book, including a 48-page full-colour section, is packed with 680 rare stills, posters, pressbooks and artwork throughout, that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, The Corruption of Chris Miller, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let's Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more!

I AM HERE: Home Movies and Everyday Masterpieces by Jim Shedden (Editor); Alexa Greist (Editor); Rick Prelinger (Editor); Robyn Lew (Editor); Stephen Broomer (Text by); Lynn Crosbie (Text by); Jordan Fee (Text by) Multimedia expressions of a universal human impulse: the desire to record our daily lives, from cave paintings to TikTok Home movies capture everything from mundane events to rites of passage: a child's first steps, a family vacation or a birthday party. These everyday subjects that fascinate amateur filmmakers have also long inspired visual artists. I AM HEREpresents home movies alongside art by Njideka Akunyili Crosby, Nicole Eisenman, Keith Haring, David Hockney, Arthur Jafa, Ed Ruscha and others, as well as personal artifacts including family photo albums, mixtapes, time capsules, postcards and home movies. This book embraces a more-is-more visual approach with reproductions of art and film stills, plus an eye-popping cover by Toronto-based artist Fiona Smyth.

John Waters: Pope of Trash by John Waters (Editor); Jenny He (Editor); Dara Jaffe (Editor); Jacqueline Stewart (Foreword by); Barry Jenkins (Interviewee) Irreverent, heartfelt, shocking and laugh-out-loud funny--a colorful celebration of the work of subversive auteur John Waters Known for pushing the boundaries of good taste, John Waters (born 1946) has created a canon of high-shock-value, high-entertainment movies that have cemented his position as one of the most revered and subversive auteurs in American independent cinema. Featuring misfit muses, tributes to his hometown of Baltimore and themes of fetish, obsession and celebrity culture, his renegade films--including Pink Flamingos (1972), Female Trouble (1974), Desperate Living (1977), Hairspray (1988), Serial Mom (1994) and A Dirty Shame (2004)--are irreverent, laugh-out-loud comedies that lovingly draw inspiration from William Castle, Herschell Gordon Lewis, Russ Meyer, Andy Warhol and Pier Paolo Pasolini alike. John Waters: Pope of Trash accompanies a landmark exhibition at the Academy Museum of Motion Pictures, the first dedicated solely to Waters' films. The book presents costumes, props, handwritten scripts, concept drawings, correspondence, promotional gimmicks, production photography and other original materials from all of the filmmaker's features and shorts. Spotlighting many of his longtime collaborators, it also features a new interview with Waters and texts by curators Jenny He and Dara Jaffe, film historian Jeanine Basinger, film critic and cultural theorist B. Ruby Rich, and author-writer-producer David Simon that explore how Waters' movies have redefined the possibilities of independent cinema.

Karrabing Film Collective by Karrabing Film Collective

Labour in a Single Shot by José Gatti (Contribution by) This collection of essays offers a critical assessment of Labour in a Single Shot, a groundbreaking documentary video workshop. From 2011 to 2014, curator Antje Ehmann and film- and video-maker Harun Farocki produced an art project of truly global proportions. They travelled to fifteen cities around the world to conduct workshops inspired by cinema history's first film, Workers Leaving the Lumière Factory, shot in 1895 by the Lumière brothers in France. While the workshop videos are in colour and the camera was not required to remain static, Ehmann and Farocki's students were tasked with honouring the original Lumière film's basic parameters of theme and style. The fascinating result is a collection of more than 550 short videos that have appeared in international exhibitions and on an open-access website, offering the widest possible audience the opportunity to ponder contemporary labour in multiple contexts around the world.

Lawrence Abu Hamdan: Live Audio Essays by Lawrence Abu Hamdan (Artist) An anthology of Abu Hamdan's disquieting audio-essay monologues on the soundscape of political life This volume compiles transcripts from performances and films by Beirut-based Lawrence Abu Hamdan (born 1985), an artist known for his political and cultural reflections on sound and listening. Taken from seven works dating from 2014 to 2022, Abu Hamdan's intricately crafted monologues are at times intimate, humorous and entertaining, yet politically disquieting in their revelations. Utilizing personal narratives, anecdotes, popular media and transcripts rooted in historic and contemporary moments, the artist leads the reader through his investigations into crimes that are heard but not seen. His live audio essays are an exercise in listening to acoustic memories, echoes of reincarnated lives, voices that leak through walls and borders, the drone of warfare, cinematic sound effects, atmospheric noise, the resonant frequencies of buildings and the sound of hunger. Collected here for the first time, all the texts were transcribed from performance documentation and edited with the artist.

The Lighthouse by Robert Eggers The book of Richard Eggers?s script for The Lighthouse includes an introduction by Willem Dafoe, essays by novelists Lauren Groff and Ian McGuire, and select pages pulled from a lighthouse keeper?s guide published in 1881.

Maya Deren, Choreographed for Camera by Mark Alice Durant Illustrated biography of the groundbreaking 20th century experimental filmmaker.

Reel Resistance - the Cinema of Jean-Marie Teno by Melissa Thackway; Jean-Marie Teno Both a monograph and a critical dialogue between academic Melissa Thackway, author of 'Africa Shoots Back', and the Cameroonian filmmaker Jean-Marie Teno, this collaborative work takes the reader on a journey through Teno's multifaceted on-going filmic reflection on Cameroon and the wider African continent, its socio-political systems, history, memory and cultures. Presenting and contextualizing Teno's cinema, it addresses the notion of political commitment in art and of cinema as a form of resistance. It also considers Teno's filmmaking both in relation to the theoretical and aesthetic debates to have animated West and Central African filmmakers since the 1960s and 1970s, and in relation to documentary filmmaking practices on the continent and beyond. In so doing, the book offers an analysis of the predominant stylistic and thematic traits of Teno's work, examines the individual films and the collective oeuvre, and highlights the evolutions of his film language and concerns. It identifies and explores the committed socio-political and historical themes at play, such as violence, power, history, memory, gender, trauma and exile. It also considers Teno's unwavering focus, both thematically and in his filmmaking choices, on forms and instances of resistance, framing his cinema as a form of decolonial aesthetics.

Signals by Tiffany Sia (Text by); Ravi Sundaram (Text by); Peter Oleksik (Contribution by); Michelle Kuo (Editor); Stuart Comer (Editor); Erika Balsom (Text by); Aria Dean (Text by); David Joselit (Text by) Having become widely accessible as a consumer technology in the 1960s, video is ever-present today-on our phones and our screens, defining new spaces and experiences, shaping our ideas and politics, and spreading disinformation, documentation, evidence, fervor. Signals: The Politics of Video charts the ways in which artists have both championed and questioned the promise of video, revealing a history that has been planetary, critical, and activist from its very beginnings. The Museum of Modern Art has been at the forefront of bringing video into museums-pioneering the collection, conservation, and definition of a new artistic medium. Signals aims to renew and revise our understanding of art and video, both within and outside the museum. A companion to the exhibition, this catalogue-the Museum's first major publication on the subject in twenty-five years-includes an introductory essay by the curators and six thematic texts by leading scholars and artists that investigate the range of artistic engagements with video, media, and the public sphere. Here, video is posed not as a traditional medium but as a pervasive and fluid media network that is thoroughly global, social, and interactive: a means of politics.

Stories from a place where all dirt roads taste of salt by Ari A24 A rich and layered photographic exploration of the people and places that influenced Raven Jackson?s directorial debut film, All Dirt Roads Taste of Salt, the companion book features lyrical writing, evocative photos, and contributions from voices that speak to the film?s quiet yet powerful themes and the rural Southern setting. Also includes the full script and incredible photography captured during the production.Includes a foreword by Kasi Lemmons poetry by Alice Walker, Tracy K. Smith, Lucille Clifton, and Reginald Helms Jr.; essays and words by Sheila Atim, Kiese Laymon, Charleen McClure, Pamela Shepard, and many others; and an afterword by Marwa Helal.

Tiffany Sia: on and off-Screen Imaginaries by Tiffany Sia (Foreword by); Jean Ma (Foreword by) Artist writings that advocate an exilic filmmaking practice, moving beyond national identity and the politics of place This collection of writings by artist and filmmaker Tiffany Sia (born 1988) gathers six essays that offer a framework for fugitive cinema. Written in the wake of the 2019-20 Hong Kong Protests ignited by the Anti-Extradition Bill Movement, Sia's writings survey the rise of a new documentary vernacular being produced by a wave of emerging filmmakers breaking from the nostalgia of Hong Kong's cinematic golden age. As a practitioner and thinker, Sia has been at the forefront of a nascent generation of artists working to trace social unrest and political crackdowns. Drawing from personal experience and historical study, her writings offer urgent reflections on a cultural landscape changed by censorship and surveillance. An essential counterpart to her oeuvre, this volume is a critical intervention into global film studies, the politics of film/photographic practices and experimental approaches to documentary. Film stills from filmmakers Chan Tze-woon and the anonymous collective Hong Kong Documentary Filmmakers, photographs by artist An-My Lê and images from Sia's short film The Sojourn (2023) are interspersed between each essay, inviting the reader to consider a cinema by other means.

Trinh T. Minh-Ha: the Twofold Commitment by Trinh T. Minh-ha (Artist) The Twofold Commitment focuses on the work of writer, filmmaker, and theorist Trinh T. Minn-ha, and her landmark film Forgetting Vietnam. Featuring her lyrical, (anti-)essayistic script for the movie, along with rhythmically distributed cinematic stills, the publication captures the film's intertwined meditations on the legacy of the Vietnam War and the ancient myths surrounding the origins of the country's land and people. The book also illuminates the wider scope of Trinh's practice, featuring an index of key terms and ideas that appear throughout her work, as well as a collection of interviews with the filmmaker conducted by critics and scholars Patricia Alvarez Astacio and Benjamín Schultz-Figueroa, Erika Balsom, Lucie Kim-Chi Mercier, Domitilla Olivieri, Stefan Östersjö, Irit Rogoff, and Xiaolu Guo.

Vampire Cinema: the First One Hundred Years by Christopher Frayling; Tony Nourmand (Editor) This coffee table visual feast celebrates a century of classic vampire cinema - mainstream and niche - through the many colourful ways in which the key films have been marketed and consumed, to enter the bloodstream of contemporary world culture. This book is dripping with stills, posters, artworks, pressbooks - many of which haven't seen the light of day for a very long time - and is introduced by cultural historian and connoisseur of the Gothic Christopher Frayling, who has been called 'the Van Helsing de nos jours'.