Here are 96 books that Experimental Cinema in the Digital Age fans have personally recommended if you like
Experimental Cinema in the Digital Age.
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I am an artist-filmmaker, writer, and Professor of Experimental Film at the University for the Creative Arts in Canterbury, Kent, UK. I have worked at the London Filmmakers’ Co-op and BBC TV. I have been making films since 1974 and teaching since 1988. I have published extensively on Artists’ Film / Experimental Cinema. I have edited and contributed chapters to numerous other books and journals, including Millennium Film Journal, MIRAJ, Film Quarterly, Sequence, and others. I have completed over 70 single screen works in 16mm and video, gallery film and video installations, and multi-projector film performances. These have been screened worldwide.
David Curtis’ copiously illustrated book is a wide-ranging yet detailed introduction to the world of artists’ film, with over 400 filmmakers discussed. The survey is rooted in the historical avant-garde of the 1920s and ‘30s but covers work up to the present day. While major figures such as Steve McQueen and Bill Viola are mentioned, equal space is devoted to little-known filmmakers from France, Poland, and elsewhere.
This detailed survey presents for the first time an alternative history of the moving image, chronicling artists' ever-evolving fascination with filmmaking from the early twentieth century to now.
From early pioneers to key artists of the present, leading authority and film expert David Curtis offers a vivid account of the numerous individuals who have been inspired by the cinematic medium and felt compelled to interpret and respond to it in their own way. In doing so, he discusses artists' widely differing achievements, aspirations, theories and approaches.
Featuring over 400 international moving-image makers and drawing on examples from across the arts,…
I am an artist-filmmaker, writer, and Professor of Experimental Film at the University for the Creative Arts in Canterbury, Kent, UK. I have worked at the London Filmmakers’ Co-op and BBC TV. I have been making films since 1974 and teaching since 1988. I have published extensively on Artists’ Film / Experimental Cinema. I have edited and contributed chapters to numerous other books and journals, including Millennium Film Journal, MIRAJ, Film Quarterly, Sequence, and others. I have completed over 70 single screen works in 16mm and video, gallery film and video installations, and multi-projector film performances. These have been screened worldwide.
A meticulously researched and detailed historical and critical account of Video Art from the 1960s onwards. Meigh-Andrews’ study rightly focuses not least on technology - cameras, analogue tape, editing systems, synthesisers, etc, given the high impact that continuously evolving technological developments have had in opening up new aesthetic possibilities for artists working with moving images.
A History of Video Art is a revised and expanded edition of the 2006 original, which extends the scope of the first edition, incorporating a wider range of artists and works from across the globe and explores and examines developments in the genre of artists' video from the mid 1990s up to the present day. In addition, the new edition expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists' video.
Tracking the changing forms of video art in relation to the revolution in electronic and digital imaging that has taken place during the last 50…
I am an artist-filmmaker, writer, and Professor of Experimental Film at the University for the Creative Arts in Canterbury, Kent, UK. I have worked at the London Filmmakers’ Co-op and BBC TV. I have been making films since 1974 and teaching since 1988. I have published extensively on Artists’ Film / Experimental Cinema. I have edited and contributed chapters to numerous other books and journals, including Millennium Film Journal, MIRAJ, Film Quarterly, Sequence, and others. I have completed over 70 single screen works in 16mm and video, gallery film and video installations, and multi-projector film performances. These have been screened worldwide.
While written from a Yugoslav perspective, this book is a fascinating study of films made using unconventional methods, materials, and equipment, including ‘written films’: films that exist as texts and that would be impossible to make as films. Levi draws on the historical and the post-war avant-garde; Dada, Surrealism, Lettrisme, Structural-Materialist film, and other movements that constitute a material and ideological rejection of conventional cinema and the way it treats the medium as a mere means to an end. In these works, produced in Japan, Europe, and the USA, the technology is turned on itself, interrogated, and repurposed to anti-illusionistic ends.
Cinema by Other Means explores an extraordinary history, stretching from the 1910s to the present: it is a study of various avant-garde endeavors to practice the cinema by using the tools, the materials, the technology, and the techniques, which either modify or are entirely different from those associated with the standard film apparatus. Using examples from both the historical and the post-war avant-garde-Dada, Surrealism, Letterism, "structural-materialist" film, and more-the book tells the tale of the multiple conditions of cinema; of a range of peculiar and imaginative ways in which filmmakers, artists, and writers have pondered and created, performed and transformed,…
I am an artist-filmmaker, writer, and Professor of Experimental Film at the University for the Creative Arts in Canterbury, Kent, UK. I have worked at the London Filmmakers’ Co-op and BBC TV. I have been making films since 1974 and teaching since 1988. I have published extensively on Artists’ Film / Experimental Cinema. I have edited and contributed chapters to numerous other books and journals, including Millennium Film Journal, MIRAJ, Film Quarterly, Sequence, and others. I have completed over 70 single screen works in 16mm and video, gallery film and video installations, and multi-projector film performances. These have been screened worldwide.
Connolly’s book
traces recent historical shifts in artists’ cinema via a number of overlapping
trends; multi-screen video projections in galleries, work that ‘references an
earlier event through documentation, re-enactment or remaking’ and that which
explores the relationship between cinema, screen architecture, and the museum or
gallery space. The implications of these trends; the mobile as opposed to
seated spectator or the making of work designed to run as continuous short
loops, is considered via detailed discussion of works by a small number of key
artists. Connolly, unusually and refreshingly, is not afraid to criticise, as
in her discussion of Douglas Gordon and Philippe Parreno’s film Zidane.
In The Place of Artists' Cinema, Maeve Connolly identifies a recurrent concern with site, space and cinema architecture in film and video works by artists, extending from the late 1960s to the present day. Focusing on developments over the past decade, Connolly provides in-depth readings of selected recent works by twenty-four different artists, ranging from multi-screen projections to site-specific installations and feature-length films. She also explores changing structures of exhibition and curation, tracing the circulation of film and video works within public art contexts, galleries, museums, biennial exhibitions and art fairs. Providing a chapter on the role of public funding…
Since I brought home my first rescue thirty years ago, my life has been full of dogs and dog-related activities that I can hardly imagine the person I would've been without them. My own books often feature one or more dogs, not because I particularly decide to write about dogs, but more because I live with dogs, it’s what I know. When I’m browsing for a good read, if a book features a dog, that’s a draw for me, just because dogs are dogs; they are such good creatures, so infinitely lovable, that their presence enhances a book for me just as their presence in my life enhances my every day.
This is an old book, in the tradition made so popular by Jack London. There were a number of these ‘proud, free dog of the North’ type of books published, and they are all great reads, yet this one is in my opinion the finest of them. It never descends into mawkish sentiment, but tells Kazan’s story from his own viewpoint; there is little of the human world, and we get a glimpse of just how alien a wild animal is, how different from our own, more domestic companions.
A tremendously exciting read, with not a dull page in it.
This carefully crafted ebook: "Kazan, the Wolf Dog" is formatted for your eReader with a functional and detailed table of contents. Excerpt: "Kazan lay mute and motionless, his gray nose between his forepaws, his eyes half closed. A rock could have appeared scarcely less lifeless than he; not a muscle twitched; not a hair moved; not an eyelid quivered. Yet every drop of the wild blood in his splendid body was racing in a ferment of excitement that Kazan had never before experienced; every nerve and fiber of his wonderful muscles was tense as steel wire..." James Oliver Curwood was…
I was eleven years old when my father introduced me to my first Agatha Christie mystery, and I’ve never looked back. When the time came to write a crime novel of my own, I knew that I wanted it to be set in Beverley, but I didn’t expect my plot to lead me to write about a pensioner. Perhaps it’s not surprising – older people have a vast knowledge of the world which can only make them more interesting as central characters in fiction. It has inspired me to seek out more books with a pensioner/crime theme – I hope you enjoy the ones on this list!
It’s hard to choose a Miss Marple book – they are all so good – but I have settled on this one as it reminds me of London, where I used to live. Miss Marple is my favourite elderly female protagonist of all time, because of the means by which she takes such good advantage of people’s underestimation of her abilities. She is wise, insightful, and clever, and I find her enjoyment of her ‘treat’ visit to the hotel very endearing – who wouldn’t love a holiday in a posh hotel at someone else’s expense?
When Miss Marple comes up from the country for a holiday in London, she finds what she's looking for at Bertram's Hotel: traditional decor, impeccable service and an unmistakable atmosphere of danger behind the highly polished veneer.
Yet, not even Miss Marple can foresee the violent chain of events set in motion when an eccentric guest makes his way to the airport on the wrong day...
As a writer, artist, and actor throughout my life, I’ve explored and enjoyed many artistic forms. While I appreciate books across many genres, I elevate to the highest level those works that manage to break conventional boundaries and create something original. In my own work, I have always challenged myself to create something unique with a medium that has never been done before. At the same time, I have sought to discover a process and resulting work that inspires readers’ own creativity and challenges them to expand their imagination.
Grossman achieves something remarkable in The Alphabet Man. The work manages to weave together visual, avant-garde graphic design, literary poetry, and a suspenseful thrilling plot. The book itself is gorgeous to look at it, and the text layout is designed as a work of art. Grossman seamlessly blends these disparate elements into a unified, unique creation that breaks the boundaries of what a novel can be.
"America loves a murder, and I am a murderous American," observes Clyde Wayne Franklin, who is considered by many to be the foremost poet in America. No ordinary killer, he is equal parts writer, obsessive lover, alcoholic, moralist, ex-con, clown, and butcher. The Alphabet Man is the story of his ruthless search for carnal love and spiritual redemption as he moves through the underworld of Washington, D.C., a sadistic landscape peopled by drug dealers, prostitutes, and assassins-for-hire. Part thriller, part psychological and linguistic masterpiece, Grossman's explosive fiction convinces us that if there is a pure poetry in the modern world,…
I like understanding television as culturally situated. Television is constructed along a number of sites: cultural, institutional, ideological, historical, or via the different ways audiences understand it. Interrogating television and what it does as a medium was historically relevant because it was a mass medium. But how can we evaluate the medium in times of highly fragmented audiences? Because of this, exploring Netflix as a new form of ‘television’ has become so important to me. The authors all try to get to terms with how television has changed over its short existence. This helps us understand the medium better, as well as our current moment.
This is a short book in which Newman explores the changes in what the term ‘video’ means.
The term is closely intertwined with the history of television, describing first television broadcasts and then how taping was used to bridge the time differences between the American east and west coasts. The term then described the ways home video revolutionized how video was used in the private sphere. Today, we receive videos as the digital snippets we see on YouTube or the short clips we post on social media.
I like Newman’s work in general. But this book tells us so much about TV history in the US; I find it an incredibly fascinating work.
Since the days of early television, video has been an indispensable part of culture, society, and moving-image media industries. Over the decades, it has been an avant-garde artistic medium, a high-tech consumer gadget, a format for watching movies at home, a force for democracy, and the ultimate, ubiquitous means of documenting reality. In the twenty-first century, video is the name we give all kinds of moving images. We know it as an adaptable medium that bridges analog and digital, amateur and professional, broadcasting and recording, television and cinema, art and commercial culture, and old media and new digital networks. In…
I've benefited from (or perhaps been cursed by) a diverse life. I've lived and worked in six countries on three continents. I've been an English teacher, copywriter, magazine columnist, internet entrepreneur (in Bangkok, of all places), author, and creativity consultant. But before that, I was a child with an overactive imagination. I delighted in science fiction, surrealism, and humor. Outlandish ideas inspire me. And I love absurdity when done well. It is easy to come up with nonsense. Creating meaningful nonsense is far more difficult. But when it works, it is brilliant!
I love the sheer simplicity of this novel's theme and the chaos a simple act can wreck. The novel begins with the main character deciding to shave off the mustache he has had for more than a decade while his wife is out. When she returns, she says nothing about the missing mustache. When he brings it up, she denies he has ever had a mustache. Likewise, friends and colleagues say the main character never had a moustache.
Things get worse from there. The novel raises questions about identity, trust, and memory.
One morning, a man shaves off his long-worn moustache, hoping to amuse his wife and friends. But when nobody notices, or pretends not to have noticed, what started out as a simple trick turns to terror. As doubt and denial bristle, and every aspect of his life threatens to topple into madness - a disturbing solution comes into view, taking us on a dramatic flight across the world.
Translated by Lanie Goodman
Elegant, pocket-sized paperbacks, VINTAGE Editions celebrate the audacity and ambition of the written word, transporting readers to wherever in the world…
For as long as I can remember, I’ve been obsessed with cultural curiosities, extraordinary eccentrics, secret societies, decadent dandies, rebels, devils, and anything weird and wonderful. I parlayed a love of Word and Image into a career in the arts and worked for places including Tate, Thames & Hudson and the British Library. But to be honest with you, that was just a ruse so I could spend more time delving through interesting books and prints. Some people see the world a little differently; I think we all benefit by spending a bit of time in the company of their art. "It's the Ones Who've Cracked That the Light Shines Through."
A hugely ambitious mix of text and graphic design, in which typography is used in bold and disarming ways. It is also a genuinely compelling sci-fi novel about very, very, big ideas. Filled with meta-narratives, in-jokes, artistic references, and mixed media, it’s an interesting alternative to that other oft-cited cult classic House of Leaves. As someone who has worked as both designer and editor, I was blown away by Hughes’s ability to combine a good story with such avant-garde design. The themes communicated will give you much to contemplate – or ramble on about to any friends you successfully corner. A staggering achievement destined to be a future cult classic.
A boundary pushing, extremely inventive sci-? epic of ?rst contact by world-renowned graphic designer and comics creator Rian Hughes
When a signal of extraterrestrial origin is intercepted by one of Earth s most powerful radio satellites, people worldwide, including a small team of tech outsiders at a software engineering ?rm specializing in arti?cial intelligence, race to interpret the message carried by what could be the ?rst communication from an intergalactic civilization. Has humanity made ?rst contact? Is the signal itself an alien life-form? A threat? If so, how will the people of Earth respond?
