Ingmar Bergman

Film As A Subversive Art
by Amos Vogel

The now scarce 2005 reprint edition of one of the greatest books on film. A classic returns! The original edition of Amos Vogel’s seminal book, Film as a Subversive Art was first published in 1974, and has been out of print since 1987. According to Vogel–founder of Cinema 16, North America’s legendary film society–the book details the “accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored.”
So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, Film as a Subversive Art analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.
This 2005 edition, published by D.A.P./C.T. Editions, also quickly went out of print and it has not been available since.

Includes Luis Buñuel, Dusan Makavejev, Luis Buñuel, Stan Brakhage, Bruce Connor, Roman Polanski, Vera Chytilova, Alfred Hitchcock, Carolee Schneemann, Peter Watkins, Tony Conrad, Jonas Mekas, Andrei Tarkovsky, Marcel Duchamp, Robert Bresson, Luchino Visconti, Chris Marker, Federico Fellini, Rainer Werner Fassbinder, Kate Millett, John Cassavettes, Shuji Terayama, William Klein, Russ Meyers, Louis Malle, Woody Allen, Yoko Ono, Michelangelo Antonioni, Agnes Varda, Walerian Borowczyk, Andy Warhol, Ingmar Bergman, Jacques Rivette, Sergei M. Eisenstein, Ingmar Bergman, Lindsay Anderson, Roberto Rossellini, Marguerite Duras, Charlie Chaplin, Paul Morrissey, Joseph Losey, Otto Muehl, Hans Richter, Fritz Lang, Jean Genet, Kenneth Anger, Maya Deren, Jean-Luc Godard, Frans Zwartjes, Arrabal, Jack Smith, Stan Vanderbeek, Werner Herzog, Morgan Fisher, Jean Renior, Michael Snow, Robert Frank, Jan Svankmajer, Sam Peckinpah, Paul Sharits, Akira Kurosawa, Yoko Ono, Orson Welles, Frederick Wiseman, Ken Jacobs, Martin Scorcese, Jean Cocteau, Manuel Octavio Gomez, Stanley Kubrick, Norman McLaren, Albert Maysles and David Maysles, to name only a few of the hundreds of film-makers whose works are featured in this essential film book.

* Condition: Good (tight, clean copy throughout with only light creasing to covers and light wear) – All care is taken to provide accurate condition details of used books, photos available on request.

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Annotations on Film
Term 1, 1964


Annotations on Film was a journal published by the Melbourne University Film Society to accompany their film programme, aimed at presenting films in Melbourne in the medium they were created and providing a critical reading of them for an independent, membership-based film society. Starting in 1948, the Melbourne University Film Society (MUFS) changed its name to Cinémathèque in 1984 and continues to this day in Melbourne. A written accompaniment to their programme can be seen in the form of the current-day online journal Senses of Cinema.
This scarce early journal from the Melbourne University Film Society features writings on Ingmar Bergman, Louis Malle, Marcel Camus’ Black Orpheus, Jules Dassin’s Rififi, Jack Clayton’s The Innocents, Frank Tashlin, Alain Resnais’ Hiroshima, Mon Amour, Sergei Eisenstein’s Battleship Potemkin, Orson Welles’ Citizan Kane, and more, and was published in Melbourne in 1964.

* Condition: Good (general wear from age and handling) – All care is taken to provide accurate condition details of used books, photos available on request.

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Raymond Bellour
Between-the-Images (Documents series)

Published for the first time in 1990—its original title is “L’Entre-images: Photo, Cinéma, Vidéo”—this volume brings together 20 illustrated essays written between 1981 and 1989 by Raymond Bellour, one of the world’s most prominent film theorists. As he writes in his foreword to this English edition, “‘Between-the-Images,’ which was innovative yesterday, is now a kind of archeological corpus. That is one of its virtues. It recalls how the landscape of the moving image was constituted and historicizes the first creative passages between film, video, and photography.”

Considering the works and the strategies of artists and filmmakers such as Thierry Kuntzel, Jean-Luc Godard, Chris Marker, Ingmar Bergman, Michelangelo Antonioni, Gary Hill, and Bill Viola, he examines the slow but inexorable change in moving images, putting his emphasis on three major areas of transformation: between stillness and movement, inside the photographic analogy, and between language and image. At once poetical and concisely argued, accompanied by numerous film stills, Bellour’s essays such as “The Pensive Spectator,” “Video Utopia,” “The Limits of Fiction,” and “The Phantom’s Due” are an invaluable and still relevant analyses that contribute to an understanding of the issues of today’s creation.

Raymond Bellour is a French writer, film critic, and theoretician. Emeritus Research Professor at the Centre National de la Recherche Scientifique (CNRS) in Paris, he has written numerous books on film and literature, and organized several solo and group exhibitions, such as the landmark “Passages de l’image” in Centre Pompidou (1989–1990). In 1991 he founded the renowned film review “Trafic” with Serge Daney. He is also the editor of the complete works of the poet Henri Michaux.

The book is part of the Documents series, co-published with Les presses du réel and dedicated to critical writings.

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