Yann Beauvais On Films 1976 1998

The artist yann beauvais was perhaps the single most significant contributor to the history of experimental film in France in the last quarter of the 20th century. When he withdrew from the Paris scene in 2000, his legacy included books, museum exhibitions, the Light Cone distribution cooperative, and a rich body of his own film work This book surveys his prodigious creative activity in this period both through his reflections on his own films and articles he published on the work of others.

The subject of this collection covers the work of the artist yann beauvais in roughly the last quarter of the 20th century. The years correspond both to his use of the physical medium of photochemical film and his role in the larger history of experimental film in Paris. In the new century yann beauvais moved on both geographically from Paris and artistically into electronic media. But the importance of his activity when he was based in Paris both as an artist in Super 8 and 16mm film and as a champion of other filmmakers through his work as a critic, curator, distributor, and exhibitor, deserves specific attention. He recalled this period with characteristic modesty: There have always been musicians' musicians so I thought maybe I was a filmmakers' filmmaker. I might never have public recognition but other filmmakers might recognize me and realize that, had I not been there, something would have been lacking. The book has two parts: Making Films (1976 - 1997) is a transcription of yann beauvais's spontaneous spoken commentary recorded in 2017 while viewing his film work. It was transcribed and then edited for coherence with his approval. Articles on Film (1979 - 1998) is a translation of the complete text of Poussières d'image published in 1998 by Paris Expèrimental. Certain chapters were originally published separately in English and, in those cases, the original translator is credited. All of the others have been translated for the first time by this book's editor.

Strach, instrument de diffusion du cinéma experimental, publie à l'occasion de ses 15 ans un ouvrage etémoignant de son extreme vitalité et longévité cinématographique. "Scratch book "a pour objet de célébrer le cinéma expérimental dans sa diversité et de rendre hommage à l'une des structures qui l'a promu et défendu le plus activement au cours de ces dernières années. Cet ouvrage propose un état du cinéma expérimental, des interviews de cinéastes, enrichis de travaux graphiques et plastiques.

"The Grove Encyclopedia of Materials and Techniques deals with all aspects of materials, techniques, conservation, and restoration in both traditional and nontraditional media, including ceramics, sculpture, metalwork, painting, works on paper, textiles, video, digital art, and more. Drawing upon the expansive scholarship in The Dictionary of Art and adding new entries, this work is a comprehensive reference resource for artists, art dealers, collectors, curators, conservators, students, researchers, and scholars." "Similar in design to The Grove Encyclopedia of Decorative Arts, this one-volume reference work contains articles of various lengths in alphabetical order. The shorter, more factual articles are combined with larger, multi-section articles tracing the development of materials and techniques in various geographical locations. The Encyclopedia provides unparalleled scope and depth, and it offers fully updated articles and bibliography as well as over 150 illustrations and color plates." "The Grove Encyclopedia of Materials and Techniques offers scholarly information on materials and techniques in art for anyone who studies, creates, collects, or deals in works of art. The entries are written to be accessible to a wide range of readers, and the work is designed as a reliable and convenient resource covering this essential area in the visual arts."

ZELLULOID is dedicated to a particular genre of artistic film, in which the image is generated directly, by physically processing the film strip. Unlike other forms of experimental film, the film material is interpreted as if it were a canvas by using a diverse range of artistic processes: through painting, drawing, collage on the celluloid, scores and scratches in the photographic emulsion, chemical manipulation or the direct lighting of photo-sensitive media. This exhibition catalogue contains outstanding examples of 'films without a camera' and features some 20 international artists and filmmakers from the 1930s to the present day. Published on the occasion of the exhibition Zelluloid: Film ohne Kamera, June ndash; August 2010, Schirn Kunsthalle Frankfurt. English and German text.

In this ground-breaking and provocative book, Roy Grundmann contends that Andy Warhol's notorious 1964 underground film, Blow Job, serves as rich allegory as well as suggestive metaphor for post-war American society's relation to homosexuality. Arguing that Blow Job epitomizes the highly complex position of gay invisibility and visibility, Grundmann uses the film to explore the mechanisms that constructed pre-Stonewall white gay male identity in popular culture, high art, science, and ethnography. Grundmann draws on discourses of art history, film theory, queer studies, and cultural studies to situate Warhol's work at the nexus of Pop art, portrait painting, avant-garde film, and mainstream cinema. His close textual analysis of the film probes into its ambiguities and the ways in which viewers respond to what is and what is not on screen. Presenting rarely reproduced Warhol art and previously unpublished Ed Wallowitch photographs along with now iconic publicity shots of James Dean, Grundmann establishes Blow Job as a consummate example of Warhol's highly insightful engagement with a broad range of representational codes of gender and sexuality. Roy Grundmann is Assistant Professor of Film Studies at Boston University and a contributing editor of Cineaste.

This single-volume resource offers comprehensive coverage of women directors and their films as well as producers, writers and production artists. General information on the filmmaker or film is followed, where applicable, by more detailed biography, filmography, comprehensive credits, production information, awards and bibliography. The core of the entry consists of a signed, 800- to 1,000-word critical essay written by a film critic or scholar. Following introductory essays on the evolution and status of women filmmakers, 190 alphabetically arranged entries discuss women directors, producers, animators, art directors, editors, writers, and costume designers. Each entry contains a brief biography, a complete filmography, a selected bibliography of works on and by the entrant, and an expository essay by a specialist in the field. The remaining entries (approximately 60) concern films in which women filmmakers have had a major role. They include production information, lists of cast and crew, a selected bibliography of works about the film, and an essay. Contains many b & w portraits and stills.