Anthology, Cinema 400 pages 22 x 30 cm Texts in French         EUR 62 out of stock

Coll., Chris Marker, Actes Sud, Cinémathèque française, 2018

« Il était une fois en France, au XXe siècle, un homme qui aimait disparaître. Homme secret, caché par un nom qui n'était pas le sien, il ne voulait paraître qu'à travers son oeuvre1. » D'une richesse inépuisable, l'oeuvre de celui que son ami Alain Resnais comparait volontiers à Léonard de Vinci trouve ici l'occasion d'une exploration d'une ampleur inédite. Chris Marker (1921-2012), cinéaste mais également romancier, essayiste, critique, éditeur, photographe, vidéaste, dessinateur, musicien et artiste multimédia, fut aussi un homme d'engagements et de combats. Auteur d'un film de science-fiction devenu culte, La Jetée, ami des chats et voyageur infatigable, Chris Marker a arpenté son temps pour en déchiffrer autant de signes qu'il a été permis à un être humain d'en embrasser. Cet ouvrage de référence réunit plus de trente textes de spécialistes de l'oeuvre de Chris Marker et une iconographie pour une grande part inédite, principalement issue des collections de La Cinémathèque française.

Cinema Softcover 45 pages 22 x 14 cm Texts in English   Very good condition       EUR 16 ORDER

Bruce Jenkins, Cinema Outsider. The Films of William Klein, Walker Art Center, 1989

This book, part of the 1989 nationally touring retrospective of the Walker Art Center, is comprised of five sections, the major - and middle one, pages 25-41, on William Klein commenting on his film work. Bounded by the intro and filmography/ bibliography, along with 15 full-page photos.

Criticism/Theory, Cinema Softcover 180 pages 24 x 18 cm Texts in English   New       EUR 28 ORDER

Petra Bauer, Sisters! Making Films, Doing Politics, Art And Theory Publishing, 2016

Bridging the gulf between aesthetics and politics, artist and film-maker Petra Bauer reflects on her own experience of making political films and launches a theoretical argument that uncovers the aesthetic mechanisms underlying contemporary strategies for collective and feminist film-making. An exploration in artistic research, the book draws on an extensive historical archive of radical film-making and film theory, with particular focus on the British film collectives of the 1970s and films made by Palestinian and Israeli film-makers. At the investigation’s core stands ‘Sisters!’, Bauer’s collaborative film project with the London-based feminist organisation Southall Black Sisters.

Cinema, Periodical First Edition Softcover 180 pages Texts in English   New       EUR 13 ORDER

Coll., Another Gaze #01, Another Gaze Journal, 2018

The first issue contains interviews with women including Carolee Schneemann, Mania Akbari, Laura Mulvey, Alice Diop, Bette Gordon, and Lis Rhodes. It contains pieces on the films of women including Kathleen Collins, Sally Potter, Chantal Akerman, Moyra Davey, Camille Henrot, Naomi Kawase, Germaine Dulac, Alice Guy-Blaché. The first issue is divided into five sections:

FIRST LIGHT contains interviews and writing on some of the founding mothers of feminist theory and film today; EARLY VIEWING is made up of personal essays about the young female viewing experience, from experiencing anxiety at watching Susan Sontag on-screen, to a Black viewer's experience of seeing 'Africa' portrayed through 'Mean Girls' and the 'Wild Thornberries', to a queer viewer having to 'queer the absence' in order to make her space in film; WOMEN LOOKING AT WOMEN explores how women filmmakers have seen their women subjects, from Naomi Kawase to Sally Potter; SOUNDS AND VISIONS encompasses writing on alternative, 'othered' subjects or subject matter, from the trans body on-screen to how to best depict rape; LOOKING AROUND is a series of reviews of films, TV, conferences and exhibitions of the past year, by women and men.

Another Gaze was founded early in 2016 in response to the difficulty in obtaining rigorous writing – whether online or in print - about women and film: its sources being disparate, or access requiring membership of an academic institution or the will and resources to get through a ‘paywall’. Feminist criticism is not, and should not be considered elite or specialist; nor should it require the reader to have a university degree or be a self-proclaimed 'cinephile'. Particularly since the advent of the internet, young women, queer people and people of colour, have had the opportunity to discover films which reflect and affirm their lives and aspirations in a manner which is harder to find in the prescribed male canon, and to create their own.

Cinema, Criticism/Theory Softcover 242 pages Texts in French   New       EUR 25 out of stock

Jean-Louis Comolli, Cinéma contre spectacle, suivi de Technique et idéologie (1971-1972), Verdier, 2009

La sainte alliance du spectacle et de la marchandise s’est réalisée. D’un pôle, d’un tropique à l’autre, le capital a trouvé l’arme absolue de sa domination : les images et les sons mêlés. Jamais dans l’histoire autant de machines n’avaient donné à autant d’hommes autant d’images et de sons à voir et à entendre. L’aliénation dévoilée par Marx n’est plus seulement ce qui dore la pilule amère de la misère, l’opium du peuple ; elle va au-delà du service rendu au capital.

Elle se sert elle-même. Les spectacles, les images et les sons nous occupent dans le but de nous faire aimer l’aliénation en tant que telle. Le spectacle ne se contente pas de servir la marchandise. Il en est devenu la forme suprême.
Se battre contre cette domination, c’est mener un combat vital pour sauver et tenir quelque chose de la dimension humaine de l’homme. Cette lutte doit se faire contre les formes mêmes que le spectacle met en œuvre pour dominer. Il nous revient, spectateurs, cinéastes, de défaire maille à maille cette domination, de la trouer de hors-champ, l’ébrécher d’intervalles. Cinéma contre spectacle ? Mais c’est le cinéma qui, dans son histoire, a construit un spectateur capable de voir et d’entendre les limites du voir et de l’entendre ! Un spectateur critique.

Cette dimension critique était en jeu dans les six articles parus sous le titre « Technique et idéologie » dans les Cahiers du cinéma (1971-1972). Ils sont repris ici, pour la première fois depuis ces années cruciales, dans la deuxième partie de l’ouvrage.

Cinema Softcover 72 pages 15 x 10 cm Texts in English   New       EUR 8 ORDER

Nicole Brenez, “We Support Everything since the Dawn of Time That Has Struggled and Still Struggles” – Introduction to Lettrist Cinema, Sternberg Press, 2011

A presentation of the key figures and the basic concepts of Lettrist cinema, which prefigured the breakthroughs of the nouvelle vague and the experiments of expanded cinema.

In October 1963 I met Gil J., and we schlepped to the scrap-metal market. [...] It was there that I came up with the following definition of Lettrism:
Lettrism: 1) technical definition: smithy, arsenal, place where unused weapons are stored; 2) volcanology: rumbling that announces certain volcanic eruptions. Examples: 1) “Thanks to L., insurgent groups were armed” – 2) “The people of Herculaneum did not pay heed to L.” [Acad.]
—Jean-Louis Brau, 1972

The Lettrist movement is unique in the history of avant-garde formations. Founded by Isidore Isou in Paris immediately after World War II, it remains active to this day, having lost none of its radicalism, either aesthetic or ethical. In this book, Nicole Brenez presents the key figures and the basic concepts of Lettrist cinema, the art form within which their formal innovations proved the most far-reaching, prefiguring the breakthroughs of the nouvelle vague and the experiments of expanded cinema.

Bootleg, Cinema First Edition Hardcover 640 pages 22 x 21 cm Texts in English / Italian   New       EUR 72 ORDER

Benedikt Reichenbach, Pasolini's Bodies and Places, Edition Patrick Frey, 2017

Around 1980 in Rome, a small cooperative around film critics Michele Mancini and Giuseppe Perrella produced a mysterious, elaborate and yet effortless looking 600-page book of black-and-white photographs entitled Pier Paolo Pasolini: Corpi e Luoghi (Theorema 1981). According to some reviews of the time this is the most Pasolinian publication to date (Alberto Farrasino), an indispensable tool for future research (Tullio Kezich), not just an illustrated book but a unique model of critique (Adriano Aprà).

With its relentless and yet playful classification of some 2,000 film stills ranged under the categories of “bodies” and “places”, whatever page we turn to, Mancini and Perrella stage an ever-shifting space. With a hidden reference to Walter Benjamin and a correspondingly revolutionary attitude, quotation here is understood as a form of “appropriation”, as a practical use of an archive.

Entitled Pasolini’s Bodies and Places and translated by Ann Goldstein and Jobst Grapow, this new quasi-facsimiled edition in English is a first step towards an exploration of the original. Mancini and Perrella introduce their compilation of quoted images with a compilation of texts by Pasolini where he describes his own research of bodies and places for his films. These text were unpublished prior to Corpi e Luoghi. With Stephen Sartarelli’s translations in the present edition they now are fully available in English. The book contains also the original text in Italian / contiene testo italiano.

Cinema, Exhibition catalogue First Edition Softcover 124 pages Texts in German & French   New       EUR 25 ORDER

Coll., Film Implosion! Experimental Cinema in Switzerland, Revolver Publishing, 2017

La création de films expérimentaux en Suisse est prolifique et riche en surprises. Nombreux sont les créateurs qui ont rompu avec les méthodes appliquées habituellement lors de la réalisation d’un film en expérimentant directement sur le film, en produisant des films documentaires non-conformistes, des œuvres politiques ou féministes, des fictions et des installations vidéo. Pour eux, dont Dieter Meier, Fredi M. Murer ou Pipilotti Rist, le film expérimental marqua souvent le début d’une carrière qui allait se retrouver dans d'autres catégories de films ou d'art.

Catalogue publié à l'occasion de l'exposition Film Implosion! à Fri Art, Fribourg (21 novembre 2015 - 21 février 2016) et à Museum für Gestaltung, Zürich (3 février - 9 avril, 2017) qui lève le voile sur un pan méconnu de l'histoire de l'art helvétique en proposant la première exposition entièrement consacrée au cinéma expérimental en Suisse. Celle-ci présente un large panorama des pratiques d'expérimentation dans les médiums du cinéma en particulier, mais également de la vidéo, depuis les années 1960.

Édité par François Bovier, Balthazar Lovay, Sylvain Menétrey et Dan Soblach.

Cinema, Artist's book, Bootleg Second Edition 660 pages 24 x 13 cm   New       EUR 120 ORDER

H. R. Giger, Alien Tagebücher / Alien Diaries, Edition Patrick Frey, 2012

HR Giger worked in the Shepperton Studios near London from February to November 1978, creating the figures and sets for the film Alien (1979) directed by Ridley Scott. The film became an international success, earning Giger an Oscar. In the transcribed Alien Diaries, published here for the first time as a facsimile, HR Giger describes his work in the studios. He writes, sketches, and takes photographs with his Polaroid SX70. With brutal honesty, sarcasm and occasional despair, Giger describes what it is like working for the film industry and how he struggles against all odds — be it the stinginess of producers or the sluggishness of his staff — to see his designs become reality. The Alien Diaries (in German transcription with an English translation) show a little-known personal side of the artist HR Giger and offer an unusual, detailed glimpse into the making of a movie classic through the eyes of a Swiss artist. The book contains almost completely unpublished material, including drawings, Polaroids showing the monster coming to life, and several still shots from the plentiful film material that Giger took in Shepperton.

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