Avant-Doc

Intersections of Documentary and Avant-Garde Cinema

Inbunden, Engelska, 2014

Av Scott MacDonald, Hamilton College) MacDonald, Scott (Professor of Film History, Professor of Film History, MACDONALD

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Over the past fifty years, a unique hybrid genre of nonfiction cinema called the "avant-doc" has emerged in the world of independent film. Combining the unconventional techniques of avant-garde auteurs like Stan Brakhage with the verisimilitude of traditional documentaries, the avant-doc expands the way cinema captures and chronicles events. Drawing on firsthand interviews with nineteen of the form's chief practitioners and participants, Avant-Doc constructs an oral history that provides the first insider's perspective on the phenomenon.

Produktinformation

Utgivningsdatum2014-11-20
Mått236 x 157 x 30 mm
Vikt794 g
FormatInbunden
SpråkEngelska
Antal sidor472
FörlagOUP USA
ISBN9780199388707

Tillhör följande kategorier

Film inom Kultur

Table of Contents: ; Introduction ; Annette Michelson ; Robert Gardner ; Ed Pincus (and Jane Pincus, Lucia Small) ; Alfred Guzzetti ; Ross McElwee ; Nina Davenport ; Leonard Retel Helmrich ; Jonathan Caouette ; Pawel Wojtasik ; Michael Glawogger ; Susana de Sousa Dias ; Alexander Olch (on The Windmill Movie) ; Amie Siegel (on DDR/DDR) ; Arthur and Jennifer Smith (on Ice Bears of the Beaufort) ; Betzy Bromberg (on Voluptuous Sleep) ; Jen Proctor (on A Movie by Jen Proctor) ; Jane Gillooly (on Suitcase of Love and Shame) ; Godfrey Reggio (on Visitors) ; Todd Haynes ; Sensory Ethnography ; Ilisa Barbash and Lucien Castaing-Taylor (on In and Out of Africa and Sweetgrass) ; Lucien Castaing-Taylor (on his installation work and on Harvard's Sensory Ethnography Lab) ; Lucien Castaing-Taylor and Verena Paravel (on Leviathan) ; Stephanie Spray and Pacho Velez (on Manakamana) ; Filmographies ; Bibliographies

A compelling achievement, Avant-Doc diagrams a new fluid geography of cinema, where traditional categories such as experimental, "documentary," and "fiction" dissolve. The insightful, probing conversations assembled so deftly here vaporize fixed cinematic modes. These filmmakers describe cinema as a living organism, pulsating in networks of politics, arts, philosophies, teachers, literature, communities, technologies, and aesthetics.