Cover

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pp. 1-1

Title Page, Copyright, Dedication

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pp. 2-9

Contents

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pp. ix-x

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Acknowledgments

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pp. xi-xii

A portion of chapter 2 was previously published in a different form in Edward S. Small, “Film and Video Art,” in Film and the Arts in Symbiosis, edited by Gary Edgerton (New York: Greenwood Press, 1988, an imprint of Greenwood Publishing Group, Inc., Westport, Conn.); published by permission. ...

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Introduction

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pp. 1-8

A number of interesting digital technological developments have occurred since the publication of the first edition (written in 1994 and republished in 1999 with a few corrections and edits), making it appropriate to update the book with Timothy W. Johnson. ...

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1. Experimental Motion Pictures as Direct Theory

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pp. 9-19

Contemporary film/video curricula and pedagogy recognize a dichotomy between coursework in production and coursework in three scholarly areas: criticism, history, and theory. To be sure, these same distinctions are often served by overlapped boundaries. ...

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2. Experimental Motion Pictures as Major Genre

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pp. 20-31

Experimental productions at once suffer and enjoy a marginal position throughout the history of motion picture scholarship. While these productions constitute a remarkably coherent genre, that genre remains an unusually overlooked one. ...

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3. The European Avant-Garde

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pp. 32-46

The European avant-garde (EAG) has become a common film history label for that body of experimental production realized by a number of fine artists on the European continent who turned to the cinema as an extension of their work in painting, sculpture, and other media during the decade of the 1920s. ...

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4. The American Avant-Garde and the American Underground

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pp. 47-67

It is convenient to posit a precise end for European avant-garde production with the advent of the Great Depression followed by a sudden flourish of sometimes fresh, sometimes derivative work in the United States. Yet certain concomitant productions preclude such consideration. ...

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5. Expanded Cinema and Visionary Film

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pp. 68-88

Sheldon Renan’s pioneer study concludes with a chapter anticipating a “whole new area of film and film-like art . . . expanded cinema.”1 Approximately three years later, Gene Youngblood’s book Expanded Cinema continued documentation of the explosive growth of experimental motion pictures’ affinity for technologic innovations: ...

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6. Experimental Video

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pp. 89-109

During the decade of the 1980s, a great many experimental films continued to be made by both established artists like Stan Brakhage and newer, younger artists who were often products of the hundreds of college and university classes devoted to film-making that had become established since the 1960s. ...

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7. Digital Experimental Motion Pictures

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pp. 110-128

What might the digital age hold for the major genre of avantgarde/experimental productions? We believe that this particular technological change will prove so vast and so long-lasting that, at best, our futurism is but “seeing through a glass, darkly.” ...

Notes

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pp. 129-136

Select Bibliography

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pp. 137-138

Index

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pp. 139-144

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About the Authors, Back Cover

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pp. 160-161

Edward S. Small is an emeritus professor of film and media studies at the University of Kansas. He is a motion picture theorist specializing in semiotics and a motion picture artist concentrating on experimental production. ...