{"title":"Film \u0026 Video","description":null,"products":[{"product_id":"documentary-across-disciplines","title":"Documentary Across Disciplines","description":"\u003ch2 class=\"pane-title\"\u003e \u003c\/h2\u003e\n\u003cdiv class=\"pane-content\"\u003e\n\u003cdiv class=\"field field-main-description\"\u003e\n\u003cdiv class=\"field-items\"\u003e\n\u003cdiv class=\"field-item odd\"\u003e\n\u003cp\u003e\"Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of “fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing of reality but as a way of coming to terms with reality through images and narrative. This book collects writings by artists, filmmakers, art historians, poets, literary critics, anthropologists, theorists, and others, to investigate one of the most vital areas of cultural practice: documentary. Their investigations take many forms—essays, personal memoirs, interviews, poetry. \u003cbr\u003e\u003cbr\u003eContemporary art turned away from the medium and toward the world, using photography and the moving image to take up global perspectives. Documentary filmmakers, meanwhile, began to work in the gallery context. The contributors consider the hybridization of art and film, and the “documentary turn” of contemporary art. They discuss digital technology and the “crisis of faith” caused by manipulation and generation of images, and the fading of the progressive social mandate that has historically characterized documentary. They consider invisible data and visible evidence; problems of archiving; and surveillance and biometric control, forms of documentation that call for “informatic opacity” as a means of evasion.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eContributors\u003cbr\u003e\u003c\/strong\u003eAriella Azoulay, Zach Blas, Christa Blümlinger, Stella Bruzzi, Lucien Castaing-Taylor, Kris Fallon, Evgenia Giannouri, Ben Lerner, SylveÌre Lotringer, Antonia Majaca, Sohrab Mohebbi, Volker Pantenburg, Veìreìna Paravel, Christopher Pinney, Ben Rivers, and Eyal Sivan \"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MIT Press,Haus der Kulturen der Welt","offers":[{"title":"Default Title","offer_id":57356345409876,"sku":"A8B-25073","price":25.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Erika_Balsom_Hila_Peleg_Documentary_Across_Disciplines.jpg?v=1790810521"},{"product_id":"godard-le-dos-au-musee-histoire-dune-exposition","title":"Godard, le dos au musée – histoire d'une exposition","description":"\u003cp\u003ePréférant aux “tombeaux de l’art” les musées imaginaires, l’auteur des \u003cem\u003eHistoire(s) du cinéma \u003c\/em\u003ea longtemps tourné le dos aux propositions d’exposition et au musée. Il finit pourtant par accepter de se confronter à ses murs en 2006 au Centre Pompidou à l’invitation de Dominique Païni ; cela donnera lieu, après force hypothèses, à l’œuvre finale controversée \u003cem\u003eVoyage(s) en utopie\u003c\/em\u003e, Jean-Luc Godard, 1946-2006, \u003cem\u003eà la recherche d'un théorème perdu\u003c\/em\u003e. Cette “chose” hybride à la croisée des arts plastiques et du cinéma, née de la rencontre orageuse de l’art et de la culture, rejoue sur un nouveau mode ses plus fondamentales interrogations d’artiste, tant dans l’élaboration des projets que dans l’échec prodigue qui en résulte. \u003cbr\u003eÀ partir des documents de travail inédits qui ont nourri les différents projets au sein de l’institution française emblématique de l’art moderne – notamment la correspondance faxée entre le cinéaste et son commissaire – \u003cem\u003eGodard, le dos au musée – Histoire d’une exposition\u003c\/em\u003e se propose d’explorer l’envers de la création godardienne, en l’inscrivant de façon plus large dans le rapport que son œuvre entretient au musée matériel et imaginé : la vie indocile de la création s’y déploie dans ses fulgurances et ses repentirs, en quête de nouvelles possibilités pour le cinéma ”exilé” au musée. [publisher’s note]\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Les Presses du Réel","offers":[{"title":"Default Title","offer_id":57356345966932,"sku":"A8B-25182","price":22.0,"currency_code":"EUR","in_stock":false}]},{"product_id":"reconnaitre-and-poursuivre","title":"Reconnaître \u0026 Poursuivre","description":"\u003cp\u003eRecueil de textes réunis et introduits par Christa Blümlinger, suivis d'une filmographie commentée par différents auteurs, de langues allemande et française, accompagnés par un cahier de trente photographies.\u003c\/p\u003e\n\u003cp\u003eCette édition de 2017, réalisée à l'occasion de la rétrospective consacrée à Harun Farocki par le Centre Pompidou à Paris, reprend celle, épuisée, de 2002; elle est remodelée “diminuée, et augmentée”.\u003c\/p\u003e","brand":"Théâtre Typographique","offers":[{"title":"Default Title","offer_id":57356346327380,"sku":"A8B-25498","price":21.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Num_C3_A9riser.jpg?v=1790810526"},{"product_id":"what-we-leave-behind-from-jean-luc-godards-archive","title":"What We Leave Behind: From Jean-Luc Godard’s Archive","description":"\u003cp\u003eSubsequent to a commissioned sound composition for Deutschlandradio, multidisciplinary artist Stéphan Crasneanscki (b. 1969, French) further examines his significant opus \u003cem\u003eWhat We Leave Behind\u003c\/em\u003e, on French film director Jean-Luc Godard’s archive, into book form. The book is divided into four comprehensive sections: boxes, collages, still lifes and notes.\u003c\/p\u003e\n\u003cp\u003eWhen invited to explore the archive of the seminal film director, Crasneanscki photographed Godard’s personal collection of shot film, reel-to-reels and historical ephemera. The notes and references in the book attest to the passing of time, yet being saved from oblivion; as a fragmented creative map of a master film director’s artistic thought process. 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It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art. This collection of Frampton's writings presents his critical essays (many written for \u003cem\u003eArtforum\u003c\/em\u003e and \u003cem\u003eOctober\u003c\/em\u003e) along with additional material, including lectures, correspondence, interviews, and production notes and scripts. It replaces—and supersedes—the long-unavailable \u003cem\u003eCircles of Confusion\u003c\/em\u003e, published in 1983. Frampton ranged widely over the visual arts in his writing, and the texts in this collection display his unique approaches to photography, film, and video, as well as the plastic and literary arts. They include critically acclaimed essays on Edward Weston and Eadweard Muybridge as well as appraisals of contemporary photographers; the influential essay, “For a Metahistory of Film,” along with scripts, textual material, and scores for his films; writings on video that constitute a prehistory of the digital arts; a dialogue with Carl Andre (his friend and former Phillips Andover classmate) from the early 1960s; and two inventive, almost unclassifiable pieces that are reminiscent of Borges, Joyce, and Beckett. [publisher's note]\u003c\/p\u003e\n\u003cp\u003eEdited and with an introduction by Bruce Jenkins.\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":57356352586068,"sku":"A8B-22006","price":33.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Num_C3_A9riser_205.jpg?v=1790810560"},{"product_id":"edgewise-a-picture-of-cookie-mueller","title":"Edgewise. 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After tracing back some of the steps of the author’s 7-year trip in search of Cookie, the voices take us from the late 60’s artist communes of Baltimore to 70’s Provincetown where romantics and queers crawled the dunes and discos, to the sleepless creative high of post-industrial Bohemian New York, through 80‘s West Berlin and Positano, and into the depths and contradictions of Cookie’s life and loves.\u003c\/p\u003e\n\u003cp\u003eSince her death from AIDS in 1989, Cookie’s work and life have made her an underground icon. 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Joselit identifies three kinds of image-events: feedback, which can be both disabling noise and rational response—as when Abbie Hoffman hijacked television time for the Yippies with flamboyant stunts directed to the media; the image-virus, which proliferates parasitically, invading, transforming, and even blocking systems—as in Nam June Paik's synthesized videotapes and installations; and the avatar, a quasi-fictional form of identity available to anyone, which can function as a political actor—as in Melvin Van Peebles's invention of Sweet Sweetback, an African-American hero who appealed to a broad audience and influenced styles of Black Power activism. These strategies, writes Joselit, remain valuable today in a world where the overlapping information circuits of television and the Internet offer different opportunities for democratic participation. [publisher's note]\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":57356355928404,"sku":"A8B-22076","price":22.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/feedback.jpg?v=1790810570"},{"product_id":"the-roh-and-cooked-tony-conrad-and-beverly-grant-in-europe","title":"The Roh and Cooked. Tony Conrad and Beverly Grant in Europe","description":"\u003cp\u003eIn 1972, New York filmmaker Tony Conrad, creator of the infamous stroboscopic film, \u003cem\u003eThe Flicker,\u003c\/em\u003e toured Europe with his wife, collaborator, and Andy Warhol superstar, Beverly Grant. The path they followed would not only bring them into contact with some of the most interesting figures of European underground cinema — including Malcolm Le Grice, Wilhelm and Birgit Hein, Valie Export, Kurt Kren, Otto Muehl — but also initiate an international dialogue about the crisis of experimental cinema that would resonate on both sides of the Atlantic and radically transform Conrad’s production into the Yellow Movies and the destruction — and cooking-based paracinematic pieces such as “deep fried” films. Following the trajectory of Conrad and Grant, the book surveys the transformations in international experimental cinema and its relation to other visual arts during the 1970s. The book includes a reprint of Tony Conrad’s rare, provocative essay on Viennese Actionist cinema, “The Eye and the Asshole: Otto Muehl and the Extremes of Vienna, 196-”. [publisher's note]\u003c\/p\u003e","brand":"August","offers":[{"title":"Default Title","offer_id":57356356092244,"sku":"A8B-22079","price":20.0,"currency_code":"EUR","in_stock":false}]},{"product_id":"video-green","title":"Video Green","description":"\u003cp\u003e\u003cem\u003eVideo Green\u003c\/em\u003e examines the explosion of late 1990s Los Angeles art driven by high-profile graduate programs. Probing the surface of art-critical buzzwords, Chris Kraus brilliantly chronicles how the City of Angels has suddenly become the epicenter of the international art world and a microcosm of the larger culture. Why is Los Angeles so completely divorced from other realities of the city? Shrewd, analytic and witty, \u003cem\u003eVideo Green\u003c\/em\u003e is to the Los Angeles art world what Roland Barthes’ \u003cem\u003eMythologies\u003c\/em\u003e were to the society of the spectacle: the live autopsy of a ghost city. [publisher's note]\u003c\/p\u003e","brand":"Semiotext(e)","offers":[{"title":"Default Title","offer_id":57356357042516,"sku":"A8B-22098","price":20.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Num_C3_A9riser_2071.jpg?v=1790810574"},{"product_id":"pabellon-cuba","title":"Pabellón Cuba: 4D – 4Dimensions, 4Decades","description":"\u003cp\u003ePabellón Cuba, a unique edifice in Havana’s modernist district Vedado and a product of the advent of the revolutionary period after 1959, was the exhibition site for the project \u003cem\u003e4D – 4Dimensions, 4Decades\u003c\/em\u003e, organized by the collective RAIN for the 8th Havana Biennial. In this publication, the landmark building takes on the role of a stage for the ideas on, discussions about, and projections towards the decades following the Revolution in Cuba. The subject of the contributions by numerous Cuban and international authors and artists is a possible “departure to a new society:” the dynamism and contradictions in the years after the revolution, and the role that art, architecture and film played in it – seen in the light of today’s critical knowledge. [publishers’ note]\u003cbr\u003e  \u003cbr\u003e Featuring work by: Gruppo A12, Juan Carlos Alom, Can Altay, An Architektur, Fernando Arias, Cátedra Arte de Conducta, Bijari, Bunker Research Group, Colectivo ENEMA, DIP (Departamento de Intervenciones Públicas), René Francisco, Victor Gama, Carlos Garaicoa, Theoretical TV, Terence Gower, Silvia Gruner, Judith Hopf, Gareth James, Gülsün Karamustafa, Daniel Lima, Luis o Miguel, Oswaldo Macià, Mahé Marty Maletá, Werner Mentl, Ariane Müller, Ernesto Neto, Karina Nimmerfall, Nils Norman, Oda Projesi, Libia Castro \u0026amp; Ólafur Ólafsson, Abel Ernesto, Oliva Martínez, Open Circle, José Patrício, Katrin Pesch, Manuel Piña, Qiu Ping, Rodney Place, RAIN, Yu-Te Sailer Wang, Deborah Schamoni, Torolab.\u003c\/p\u003e\n\u003cdiv class=\"product-contributors\"\u003e\n\u003cspan class=\"label-above\"\u003eContributors: \u003c\/span\u003e\u003cspan class=\"product-contributor\"\u003eAntón Arrufat, Luis Camnitzer, Emilio Castro, Antonio Eligio Fernández (Tonel) , Magda González-Mora Alfonso, Mario González Sedeño, Roberto Gottardi, Manuel Piña, Eduardo Luis Rodríquez , Keith Wallace, Rachel Weiss, Florian Zeyfang.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product-contributors\"\u003e \u003c\/div\u003e\n\u003cdiv class=\"product-contributors\"\u003e\u003cspan class=\"product-contributor\"\u003eEnglish \u0026amp; Spanish texts.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"product-contributors\"\u003e \u003c\/div\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":57356363727188,"sku":"A8B-22311","price":40.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/pabellon.jpg?v=1790810607"},{"product_id":"4-33","title":"Two Times 4’33”","description":"\u003cp\u003eFor \u003cem\u003eTwo Times 4’33”\u003c\/em\u003e Manon de Boer staged and filmed two concerts of John Cage’s notoriously silent music composition in three movements, \u003cem\u003e4’33”\u003c\/em\u003e (1952). The first half of the two-part 35mm film captures the “natural” sound and image of the performance with a camera fixed on avant-garde pianist Jean-Luc Fafchamps. In the second half of the film, the contextual soundtrack is left out, a fact felt all the more poignantly as the camera gently pans toward the concert audience and onto a windy outdoor scene heard previously in the first version of the performance.\u003c\/p\u003e\n\u003cp\u003eIn turn, this publication is based on the film \u003cem\u003eTwo Times 4’33”\u003c\/em\u003e by Manon de Boer. The book has the same size as the original score by John Cage for 4’33”. The first half of this two-part book is full with texts about “silence,” subdivided in three parts. The second half is a copy of the first three parts but without texts. [publisher’s note]\u003c\/p\u003e\n\u003cp\u003ePublished in the context of the 5th Berlin Biennial for Contemporary Art, to accompany the artist’s project.\u003c\/p\u003e","brand":"A Prior","offers":[{"title":"Default Title","offer_id":57356403147092,"sku":"A8B-22664","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/DE_BOER_Manon_4_33__0.jpg?v=1790810682"},{"product_id":"l-exposition-d-un-film","title":"L'exposition d'un film","description":"","brand":"Les Presses du Réel","offers":[{"title":"Default Title","offer_id":57356416778580,"sku":"A8B-21935","price":30.0,"currency_code":"EUR","in_stock":false}]},{"product_id":"the-george-kuchar-reader","title":"The George Kuchar Reader","description":"\u003cp\u003eGeorge Kuchar is best known for the films and videos he made beginning in the mid-1950s. The earliest works were 8mm movies created with his twin brother, Mike Kuchar. A seminal influence on John Waters amongst many others, these uniquely irreverent films were at the forefront of the New York underground film scene alongside avant-garde filmmakers like Andy Warhol, Jack Smith, Stan Brakhage, and Jonas Mekas, who championed the Kuchars in his influential Village Voice column. In 1971, George Kuchar began teaching at the San Francisco Art Institute and remained in San Francisco, collaborating with his students, until his death in 2011. The roughly 350 films and videos that he directed are consistently faithful to the low-fi intimacy of his early work. Kuchar’s film and video work has screened around the world in cinemas, festivals, and major museums. 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