Here are 99 books that The Place of Artists' Cinema fans have personally recommended if you like
The Place of Artists' Cinema.
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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.
LeGrice was a founder of the London Filmmakers’ Co-op in 1968 and has worked ever since as a film and video maker, teacher, and writer. His book collects a large number of theoretical and critical essays on a range of topics, from film as material to the way films variously position the spectator as a consumer and/or self-conscious critic, to comparisons between film and digital media, in aesthetic, technological, and ecological terms. The essays are always approachable, even when he is discussing more abstract theoretical problems. Many examples are discussed.
Michael Le Grice, a pioneer of "structural film" in the 1970s and whose first video and computer works were exhibited in the late 1960s, provides a collection of his most notable essays. The essays shed light on the work of other artists and film-makers and documents a period, especially the 70s, when artists' film was at the centre of polemical debate about the nature of avant-garde and the future of radical or experimental film. The book contributes to the contemporary debates about film, video, art and new technology.
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 currently spend my time researching (and worrying about) nuclear war and how to stop it from ever happening. I live about 25 miles away from where the UK’s nuclear weapons are based, so I have a very personal interest in making sure that nuclear war never becomes a reality! As a lecturer at the University of Glasgow I’m also embarking on a four-year research fellowship with over £1 million in funding where I will be leading a team of experts to research how to improve nuclear arms control and disarmament. So keep in touch if you want to reduce the risk of nuclear war and ban the bomb!
Nuclear weapons are not just dangerous if they are used in a nuclear war. Their development, testing, production, deployment, and decommissioning are all harmful to the planet. My favourite thing about this book is how this fact is explored and examined at the global and local levels.
With a geographer’s attention to the specifics of space and place, Alexis-Martin takes us on a journey around the world and through history that illuminates how all parts of the nuclear weapon production cycle have harmed people whose stories we often don’t hear. From indigenous communities displaced by nuclear weapons production facilities to the British veterans who were used as lab rats and exposed to nuclear tests by the state, this book uncovers the often hidden history of nuclear weapons.
I really enjoyed this, especially as Alexis-Martin then reflects on how we can prevent nuclear war in the future.
***Winner of the L.H.M. Ling Outstanding First Book Prize 2020***
***Shortlisted for the Bread and Roses Award 2020***
Since the first atomic bomb exploded over Hiroshima, the history of nuclear warfare has been tangled with the spaces and places of scientific research and weapons testing, armament and disarmament, pacifism and proliferation. Nuclear geography gives us the tools to understand these events, and the extraordinary human cost of nuclear weapons.
Disarming Doomsday explores the secret history of nuclear weapons by studying the places they build and tear apart, from Los Alamos to Hiroshima. It looks at the legacy of nuclear imperialism…
I currently spend my time researching (and worrying about) nuclear war and how to stop it from ever happening. I live about 25 miles away from where the UK’s nuclear weapons are based, so I have a very personal interest in making sure that nuclear war never becomes a reality! As a lecturer at the University of Glasgow I’m also embarking on a four-year research fellowship with over £1 million in funding where I will be leading a team of experts to research how to improve nuclear arms control and disarmament. So keep in touch if you want to reduce the risk of nuclear war and ban the bomb!
One of my favourite things about this book is the clarity with which the authors—a former US Secretary of Defense and a leading nuclear policy advisor—diagnose what’s wrong with American nuclear weapons policy and propose solutions that would make us all safer.
I loved how the book is both a great public education resource (here’s what’s wrong with US nuclear policy) and a call to arms (here’s what you can do to make it better!). I also loved how the book makes it clear that the US approach to achieving national security through increasing reliance on nuclear weapons, in fact, makes the US less secure.
The President has the power to end the world in minutes. Right now, no one can stop him.
Since the Truman administration, America has been one "push of a button" away from nuclear war-a decision that rests solely in the hands of the President. Without waiting for approval from Congress or even the Secretary of Defense, the President can unleash America's entire nuclear arsenal.
Almost every governmental process is subject to institutional checks and balances. Why is potential nuclear annihilation the exception to the rule? For decades, glitches and slip-ups have threatened to trigger nuclear winter: misinformation, false alarms, hacked…
I have always had a passion to engage with the deepest questions of existence, from the interpretation of quantum mechanics to string theory and cosmology. My desire to understand is driven purely by curiosity, and my aim in writing about these topics is to make the wonders of the universe as widely accessible as possible. But scientific knowledge and the advance of technology also has a potentially darker side. It is vital for the future of humanity that science is widely understood so that democratic informed decisions can be made to safeguard against its misuse, and this was the motivation for recommending my list of books.
Command and Control is the gripping story of an accident at an Intercontinental Ballistic Missile silo in Arkansas in 1980 that resulted in the explosion of a Titan II missile.
The explosion blew the concrete lid off the silo and sent the missile’s nine-megaton thermonuclear warhead hurtling one hundred metres through the air. Fortunately, the warhead, which had 500 times the explosive power of the bombs that destroyed Hiroshima and Nagasaki, did not explode.
Interwoven with the minute-by-minute account of this accident, Schlosser gives a riveting history of the development of nuclear weapons by the U.S. military and discusses the mechanisms that have been devised to ensure that they are not detonated unintentionally. He also describes numerous other alarming nuclear mishaps that have occurred over the years.
The Oscar-shortlisted documentary Command and Control, directed by Robert Kenner, finds its origins in Eric Schlosser's book and continues to explore the little-known history of the management and safety concerns of America's nuclear aresenal.
"A devastatingly lucid and detailed new history of nuclear weapons in the U.S. Fascinating." -Lev Grossman, TIME Magazine
"Perilous and gripping . . . Schlosser skillfully weaves together an engrossing account of both the science and the politics of nuclear weapons safety." -San Francisco Chronicle
A myth-shattering expose of America's nuclear weapons
Famed investigative journalist Eric Schlosser digs deep to uncover secrets about the management of…
Even before recently becoming a dad, I was passionate about reducing the risks of nuclear war. I am also firmly committed to pursuing—yet never fully knowing—the answers when it comes to achieving that. I think that trying to figure out why things happened as they did in the Cold War can sometimes help illuminate partial answers. The late Michael Krepon referred to the period 1985–1992 as the high tide of nuclear agreements and risk reduction, and I retain optimism that it can happen again. Deterrence is equally important. I have spent the past decade working on historical projects covering national security and negotiating sides of the Cold War equation.
Love is probably not the term I would use for this book. I am glad that Annie Jacobsen wrote it, and I think anyone interested in the real threat of nuclear war should read it. There are moments in it—particularly one very consequential decision that the U.S. president makes—that are highly implausible and have generated criticism from people who have devoted their careers to nuclear deterrence.
However, it is worth noting that no one actually knows how the leader of a nuclear-armed state would react to the news of an incoming nuclear attack because that scenario has never happened before. I think it is worth emphasizing this book’s subtitle: “A Scenario”—which is not “The Scenario” or “All Scenarios.” There are many scenarios that do not end as definitively as in Jacobsen’s scenario.
I include this book in the topic of reducing the risk of nuclear war because it so vividly…
It’s common to talk about why you love the subject you research. I have no love for nuclear weapons. They are, however, central to understanding international politics since 1945. The nuclear age is one of inconsistencies. Nuclear weapons drive many crises but may make major wars between nuclear states less likely. They generate reassurance and anxiety among allies in almost equal measure. The books in this list all grapple with the nuclear shadow’s shape and scale. Most combine an analytical framework with historical study, but all are attuned to theory and strategy. As for me, I’m an associate professor at Virginia Tech, where I research and teach on international relations.
I got this book for the incisive presentation and critique of the nuclear revolution thesis. I stayed for the original theory and detailed history. The chapters on the Nixon, Ford, and Carter administrations provided me with a new understanding of that era. For the nuclear revolution, the superpower behavior of the late Cold War was either irrational or driven by domestic pathologies. Green shows that there was a cold strategic logic and domestic political awareness behind U.S. policy. American leaders tailored arms control in ways that allowed them to continue competing and indeed gain an advantage against the Soviet Union.
The study of nuclear weapons is dominated by a single theory - that of the nuclear revolution, or mutual assured destruction (MAD). Although such theorists largely perceive nuclear competition as irrational and destined for eventual stalemate, the nuclear arms race between superpowers during the second half of the Cold War is a glaring anomaly that flies in the face of this logic. In this detailed historical account, Brendan Green presents an alternate theoretical explanation for how the United States navigated nuclear stalemate during the Cold War. Motivated by the theoretical and empirical puzzles of the Cold War arms race, Green…
My research permitted amazing conversations with some of McNamara’s former colleagues and their children, including Daniel Ellsberg. Ellsberg informed the direction of my research and shared my excitement about the sources I was looking for, especially the secret diaries of his former (and beloved) boss, John McNaughton. He is both a window into and a foil to McNamara. On substance, they were in basic agreement on most issues (from Vietnam to nuclear issues), but they chose very different paths to address their moral qualms. I think the questions they asked–including on the moral responsibility of public officials–are as urgent today as they were in the 1960s.
Ellsberg’s last book focused more clearly on his work on nuclear planning within the Department of Defense, where Secrets had mostly concerned itself with Vietnam.
The book provides a chilling account of how tenuous and fragile a system based on nuclear deterrence remains. Much more than that, the book is a clarion call for all of its readers to be alive to the morality of the very existence of nuclear weapons.
Shortlisted for the 2018 Andrew Carnegie Medal for Excellence in Non-Fiction
From the legendary whistle-blower who revealed the Pentagon Papers, the first insider expose of the awful dangers of America's hidden, seventy-year-long nuclear policy that is chillingly still extant
At the same time former presidential advisor Daniel Ellsberg famously took the top-secret Pentagon Papers, he also took with him a chilling cache of top-secret documents related to America's nuclear program in the 1960s. Here for the first time he reveals the contents of those now-declassified documents and makes clear their shocking relevance for today.
