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   movies: AESTHETICS
   movies: NEWS & REVIEWS
   movies: SHOWS & SCREENINGS
   random art notes
   random how-tos
   research: AVANT-GARDE MOVIES
   research: MOTION GRAPHICS
   research: VISUAL MUSIC
   theory: CRITICAL OBSERVATIONS
   theory: DIGITAL CAPITALISM
   theory: GLITCH & POSTDIGITAL
   theory: working notes

 

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Watson on the Aesthetics of Avant-Garde Film

story © Michael Betancourt | published February 26, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



movies: AESTHETICS
Interesting early article on the aesthetics of avant-garde film versus commercial cinema from 1929: "The Amateur Takes Leadership" by J.S. Watson, on his film Fall of the House of Usher, in Movie Makers, January 1929.




 
The Early History of American Avant-Garde Film

story © Michael Betancourt | published February 13, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



research: AVANT-GARDE MOVIES

The Museum of Modern Art in New York began a bibliographic indexing project focused on the history and criticism of motion pictures with The New York City WPA Writers Project, following the organization of the museums Film Library in 1935. This project, developed over several years was completed as a three volume survey of English language publications about motion pictures in 1941.




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List of US Avant-Garde Film Histories

story © Michael Betancourt | published January 30, 2015 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



research: AVANT-GARDE MOVIES

There are lots of histories published about US avant-garde film. Here's an extended list of some of them, arranged in order of publication year:


Frank Stauffacher and Richard Foster, Art in Cinema (catalog, 1946)

Lewis Jacobs, Experimental Cinema in America 1921-1947 in The Rise of the American Film (1948)

Roger Manvell, Experiment in the Film (1949)

Robert Pike, A Critical Study of the West Coast Experimental Film Movement (UCLA dissertation, 1960)




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"Beyond Spatial Montage" part 6 of 6

story © Michael Betancourt | published November 30, 2014 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: working notes

This theory work will be published as a book-length monograph Beyond Spatial Montage: Windowing, or, the Cinematic Displacement of Time, Motion, and Space by Focal Press.

Part 6 of a 6 Part series proposing an expanded theorization of spatial montage, excerpted from a current book project.

Afterword

The potential of on-screen structures that appear as displacement is at once a deeply under theorized, but at the same time over-determined. The same series of structures are shared by both the avant-garde and commercial media worlds. The failure of existing theorizations originates with those theories demand that the displaced structures of windowing be essentially critical, ignoring the alternative uses that are apparent within commercial media production. The uniformity of this morphology that allows both collage/montage-like juxtapositions and seamless constructions of realist continuity demonstrates the independence of these structures meaning from their formal organization: these on-screen structures function at a more basic level than that posed by the interpretations of narrative or the combinatory potentials of montage-like forms. Developing a conceptual map to accommodate this range of forms thus becomes a necessary prerequisite for any hermeneutic critical assessment.




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"Beyond Spatial Montage" part 5 of 6

story © Michael Betancourt | published November 25, 2014 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: working notes

This theory work will be published as a book-length monograph Beyond Spatial Montage: Windowing, or, the Cinematic Displacement of Time, Motion, and Space by Focal Press.

Part 5 of a 6 Part series proposing an expanded theorization of spatial montage, excerpted from a current book project.

TimeMotionSpace Displacement

Displacements of TimeMotionSpace are predicted by this taxonomy, but do not appear in the historical record. These are single image works constructed around the fragmentation and reorganization of one shot (the long take) transformed into a multiple image composition that may not contain affective juxtapositions. The three variations of this displacement reflect affective priorities in the form that the resulting composites take within the larger morphology of TimeMotionSpace displacement. Both temporal and spatial elements are crucial to these visual structures; they differ from spatial montage in the singular nature of the screen-image. There are three variants distinguished by their affective character: within the fundamentally continuous, singular image the shifts have a distinct valence that is more closely aligned with one of the three elements (Time, Motion and Space).




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