In this Book

University of California Press
summary
Film Manifestoes and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world.

This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

Table of Contents

  1. Cover
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  1. Title page, Copyright
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  1. Contents
  2. pp. v-xviii
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  1. Acknowledgments
  2. pp. xix-xxii
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  1. Introduction. “An Invention without a Future”
  2. pp. 1-10
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  1. 1. The Avant-Garde(s)
  2. pp. 11-12
  1. The Futurist Cinema (Italy, 1916)
  2. F. T. Marinetti, Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla, Remo Chiti
  3. pp. 15-18
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  1. Lenin Decree (USSR, 1919)
  2. Vladimir Ilyich Lenin
  3. pp. 19-20
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  1. The ABCs of Cinema (France, 1917–1921)
  2. Blaise Cendrars
  3. pp. 20-23
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  1. WE: Variant of a Manifesto (USSR, 1922)
  2. Dziga Vertov
  3. pp. 23-26
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  1. The Method of Making Workers’ Films (USSR, 1925)
  2. Sergei Eisenstein
  3. pp. 27-28
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  1. Constructivism in the Cinema (USSR, 1928)
  2. Alexei Gan
  3. pp. 29-30
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  1. Preface: Un chien Andalou (France, 1928)
  2. Luis Buñuel
  3. p. 31
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  1. Manifesto of the Surrealists Concerning L’Age d’or (France, 1930)
  2. The Surrealist Group (Maxime Alexandre, Louis Aragon, André Breton, René Char, René Crevel, Salvador Dalí, Paul Eluard, Benjamin Péret, Georges Sadoul, André Thirion, Tristan Tzara, Pierre Unik, Albert Valentin)
  3. pp. 31-37
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  1. Manifesto on “Que Viva Mexico” (USA, 1933)
  2. The Editors of Experimental Film
  3. pp. 38-40
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  1. Spirit of Truth (France, 1933)
  2. Le Corbusier
  3. pp. 41-43
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  1. An Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934)
  2. László Moholy-Nagy
  3. pp. 44-47
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  1. Light*Form*Movement*Sound (USA, 1935)
  2. Mary Ellen Bute
  3. p. 47
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  1. Prolegomena for All Future Cinema (France, 1952)
  2. Guy Debord
  3. pp. 49-50
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  1. No More Flat Feet! (France, 1952)
  2. Lettriste International (Serge Berna, Jean-Louis Brau, Guy Debord, and Gil J. Wolman)
  3. pp. 50-51
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  1. The Lettristes Disavow the Insulters of Chaplin (France, 1952)
  2. Jean-Isidore Isou, Maurice Lemaître, and Gabriel Pomerand
  3. pp. 51-52
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  1. The Only Dynamic Art (USA, 1953)
  2. Jim Davis
  3. pp. 52-56
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  1. A Statement of Principles (USA, 1961)
  2. Maya Deren
  3. pp. 56-58
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  1. The First Statement of the New American Cinema Group (USA, 1961)
  2. New American Cinema Group
  3. pp. 58-60
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  1. Foundation for the Invention and Creation of Absurd Movies (USA, 1962)
  2. Ron Rice
  3. p. 61
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  1. From Metaphors on Vision (USA, 1963)
  2. Stan Brakhage
  3. pp. 62-69
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  1. Kuchar 8mm Film Manifesto (USA, 1964)
  2. George Kuchar
  3. pp. 69-70
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  1. Film Andepandan [Independents] Manifesto (Japan, 1964)
  2. Takahiko Iimura, Koichiro Ishizaki, Nobuhiko Obayashi, Jyushin Sato, Donald Richie
  3. pp. 70-72
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  1. Discontinuous Films (Canada, 1967)
  2. Keewatin Dewdney
  3. pp. 72-76
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  1. Hand-Made Films Manifesto (Australia, 1968)
  2. UBU Films, Thoms
  3. pp. 76-77
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  1. Cinema Manifesto (Australia, 1971)
  2. Arthur Cantrill and Corinne Cantrill
  3. pp. 77-78
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  1. For a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971)
  2. Hollis Frampton
  3. pp. 78-85
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  1. Elements of the Void (Greece, 1972)
  2. Gregory Markopoulos
  3. pp. 86-87
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  1. Small Gauge Manifesto (USA, 1980)
  2. JoAnn Elam and Chuck Kleinhans
  3. p. 87
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  1. Cinema of Transgression Manifesto (USA, 1985)
  2. Nick Zedd
  3. pp. 88-89
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  1. Modern, All Too Modern (USA, 1988)
  2. Keith Sanborn
  3. pp. 89-100
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  1. Open Letter to the Experimental Film Congress: Let’s Set the Record Straight (Canada, 1989)
  2. Peggy Ahwesh, Caroline Avery, Craig Baldwin, Abigail Child, Su Friedrich, Barbara Hammer, Todd Haynes, Lewis Klahr, Ross McLaren, John Porter, Yvonne Rainer, Berenice Reynaud, Keith Sanborn, Sarah Schulman, Jeffrey Skoller, Phil Solomon, and Leslie Thornton, and fifty-nine other filmmakers
  3. pp. 100-101
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  1. Anti-100 Years of Cinema Manifesto (USA, 1996)
  2. Jonas Mekas
  3. pp. 102-103
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  1. The Decalogue (Czech Republic, 1999)
  2. Jan Švankmajer
  3. pp. 103-105
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  1. Your Film Farm Manifesto on Process Cinema (Canada, 2012)
  2. Philip Hoffman
  3. pp. 105-106
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  1. 2. National and Transnational Cinemas
  2. pp. 107-111
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  1. From “The Glass Eye” (Italy, 1933)
  2. Leo Longanesi
  3. pp. 112-116
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  1. The Archers’ Manifesto (UK, 1942)
  2. Michael Powell and Emeric Pressburger
  3. pp. 116-117
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  1. What Is Wrong with Indian Films? (India, 1948)
  2. Satyajit Ray
  3. pp. 117-120
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  1. Buñuel the Poet (Mexico, 1951)
  2. Octavio Paz
  3. pp. 120-123
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  1. French Cinema Is Over (France, 1952)
  2. Serge Berna, Guy Debord, François Dufrêne, Monique Geoffrey, Jean-Isidore Isou, Yolande du Luart, Marc’O, Gabriel Pomerand, Poucette, and Gil J. Wolman
  3. pp. 123-124
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  1. Some Ideas on the Cinema (Italy, 1953)
  2. Cesare Zavattini
  3. pp. 124-133
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  1. A Certain Tendency in French Cinema (France, 1954)
  2. François Truffaut
  3. pp. 133-144
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  1. Salamanca Manifesto & Conclusions of the Congress of Salamanca (Spain, 1955)
  2. Juan Antonio Bardem
  3. pp. 144-149
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  1. Free Cinema Manifestos (UK, 1956–1959)
  2. Committee for Free Cinema
  3. pp. 149-152
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  1. The Oberhausen Manifesto (West Germany, 1962)
  2. Alexander Kluge, Edgar Reitz, Bodo Blüthner, Boris von Borresholm, Christian Doermer, Bernhard Dörries, Heinz Furchner, Rob Houwer, Ferdinand Khittl, Pitt Koch, Walter Krüttner, Dieter Lemmel, Hans Loeper, Ronald Martini, Hansjürgen Pohland, Raimond Ruehl, Peter Schamoni, Detten Schleiermacher, Fritz Schwennicke, Haro Senft, Franz-Josef Spieker, Hans Rolf Strobel, Heinz Tichawsky, Wolfgang Urchs, Herbert Vesely, and Wolf Wirth
  3. pp. 152-153
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  1. Untitled [Oberhausen 1965] (West Germany, 1965)
  2. Jean-Marie Straub, Rodolf Thome, Dirk Alvermann, Klaus Lemke, Peter Nestler, Reinald Schnell, Dieter Süverkrüp, Kurt Ulrich, Max Zihlmann
  3. pp. 153-154
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  1. The Mannheim Declaration (West Germany, 1967)
  2. Joseph von Sternberg, Alexander Kluge, Jacob Heidbüchel, Reiner Keller, Fee Vaillant, Herbert Pötgens, K. F. Göltz, Walter Talmon-Gros, Edgar Reitz, Hans Rolf Strobel, Norbert Kückelmann, Michael Lentz, Heinrich Tichawsky, Peter M. Ladiges
  3. pp. 154-155
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  1. Sitges Manifesto (Spain, 1967)
  2. Manuel Revuelta, Antonio Artero, Joachin Jordà, and Julián Marcos
  3. pp. 155-157
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  1. How to Make a Canadian Film (Canada, 1967)
  2. Guy Glover
  3. pp. 157-160
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  1. How to Not Make a Canadian Film (Canada, 1967)
  2. Claude Jutra
  3. pp. 161-162
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  1. From “The Estates General of the French Cinema, May 1968” (France, 1968)
  2. Thierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz
  3. pp. 162-165
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  1. Manifesto of the New Cinema Movement (India, 1968)
  2. Arun Kaul and Mrinal Sen
  3. pp. 165-168
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  1. What Is to Be Done? (France, 1970)
  2. Jean-Luc Godard
  3. pp. 169-170
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  1. The Winnipeg Manifesto (Canada, 1974)
  2. Denys Arcand, Colin Low, Don Shebib, David Acomba, Linda Beth, Milad Bessada, Kirwan Cox, Jack Darcus, Martin DeFalco, Sandra Gathercole, Jack Grey, Ági Ibrányi-Kiss, Len Klady, Peter Pearson, Tom Shandel, Jean-Pierre Tadros, Frank Vitale, Les Wedman, John Wright
  3. pp. 170-171
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  1. Hamburg Declaration of German Filmmakers (West Germany, 1979)
  2. Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, and fi fty-seven others
  3. p. 172
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  1. Manifesto I (Denmark, 1984)
  2. Lars von Trier
  3. pp. 173-174
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  1. Manifesto II (Denmark, 1987)
  2. Lars von Trier
  3. p. 174
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  1. Manifesto III: I Confess! (Denmark, 1990)
  2. Lars von Trier
  3. pp. 174-175
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  1. The Cinema We Need (Canada, 1985)
  2. R. Bruce Elder
  3. pp. 176-183
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  1. Pathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985)
  2. Ola Balogun
  3. pp. 183-192
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  1. Manifesto of 1988 (German Democratic Republic, 1988)
  2. Young DEFA Filmmakers
  3. pp. 192-194
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  1. In Praise of a Poor Cinema (Scotland, 1993)
  2. Colin McArthur
  3. pp. 194-201
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  1. Dogme ’95 Manifesto and Vow of Chastity (Denmark, 1995)
  2. Lars von Trier and Thomas Vinterberg
  3. pp. 201-203
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  1. I Sinema Manifesto (Indonesia, 1999)
  2. Dimas Djayadinigrat, Enison Sinaro, Ipang Wahid, Jay Subiykto, Mira Lesmana, Nan T. Achnas, Richard Butario, Riri Riza, Rizal Mantovani, Sentot Sahid, Srikaton, Nayato Fio Nuala
  3. pp. 203-204
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  1. 3. Third Cinemas, Colonialism, Decolonization, and Postcolonialsim
  2. pp. 205-208
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  1. Manifesto of the New Cinema Group (Mexico, 1961)
  2. El grupo nuevo cine: José de la Colina, Rafael Cordiki, Salvador Elizondo, J. M. García Ascot, Emilia García Riera, J. L. González de León, Heriberto Lafranchi, Carlos Monsiváis, Julio Pliego, Gabriel Ramírez, José María Sbert, and Luis Vicens. Subsequently signed by José Baez Esponda, Armando Bartra, Nancy Cárdenas, Leopoldo Chagoya, Ismael García Llaca, Alberto Isaac, Paul Leduc, Eduardo Lizalde, Fernando Macotela, and Francisco Pina
  3. pp. 209-210
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  1. Cinema and Underdevelopment (Argentina, 1962)
  2. Fernando Birri
  3. pp. 211-217
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  1. The Aesthetics of Hunger (Brazil, 1965)
  2. Glauber Rocha
  3. pp. 218-220
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  1. For an Imperfect Cinema (Cuba, 1969)
  2. Julio García Espinosa
  3. pp. 220-230
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  1. Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969)
  2. Fernando Solanas and Octavio Getino
  3. pp. 230-250
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  1. Film Makers and the Popular Government Political Manifesto (Chile, 1970)
  2. Comité de cine de la unidad popular
  3. pp. 250-252
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  1. Consciousness of a Need (Uruguay, 1970)
  2. Mario Handler
  3. pp. 253-256
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  1. Militant Cinema: An Internal Category of Third Cinema (Argentina, 1971)
  2. Octavio Getino and Fernando Solanas
  3. pp. 256-258
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  1. For Colombia 1971: Militancy and Cinema (Colombia, 1971)
  2. Carlos Alvarez
  3. pp. 258-264
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  1. The Cinema: Another Face of Colonised Québec (Canada, 1971)
  2. Association professionnelle des cinéastes du Québec
  3. pp. 264-272
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  1. 8 Millimeters versus 8 Millions (Mexico, 1972)
  2. Jaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, Felipe Cazals, Rafael Castanedo, Eduardo Maldonado, Gustavo Alatriste, Emilio García Riera, David Ramón, Tomás Pérez Turrent, and Fernando Gou
  3. pp. 272-273
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  1. Manifesto of the Palestinian Cinema Group (Palestine, 1973)
  2. Palestinian Cinema Group
  3. pp. 273-275
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  1. Resolutions of the Third World Filmmakers Meeting (Algeria, 1973)
  2. Fernando Birri, Ousmane Sembène, Jorge Silva, Santiago Alvarez, Med Hondo, Jorge Cedron, Moussa Diakite, Flora Gomes, Mohamed Abdelwahad, El Hachmi Cherif, Lamine Merbah, Mache Khaled, Meziani Abdelhakim, Mamadou Sidibe, Mostefa Bouali, and more than twenty other filmmakers
  3. pp. 275-284
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  1. The Luz e Ação Manifesto (Brazil, 1973)
  2. Carlos Diegues, Glauber Rocha, Joaquim Pedro de Andrade, Leon Hirszman, Miguel Faria, Nelson Pereira dos Santos, Walter Lima Jr.
  3. pp. 284-285
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  1. Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976)
  2. Jorge Sanjinés
  3. pp. 286-294
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  1. Manifesto of the National Front of Cinematographers (Mexico, 1975)
  2. Paul Leduc, Jorge Fons, Raul Araiza, Felipe Cazals, José Estrada, Jaime Humberto Hermosillo, Alberto Isaac, Gonzalo Martínez, Sergio Olhovich, Julián Pastor, Juan Manuel Torres, and Salomón Láiter
  3. pp. 294-296
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  1. The Algiers Charter on African Cinema (Algeria, 1975)
  2. FEPACI (Fédération panafricaine des cinéastes)
  3. pp. 296-298
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  1. Declaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979)
  2. Nicaraguan Institute of Cinema
  3. pp. 298-299
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  1. What Is the Cinema for Us? (Mauritania, 1979)
  2. Med Hondo
  3. pp. 300-303
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  1. Niamey Manifesto of African Filmmakers (Niger, 1982)
  2. FEPACI (Fédération panafricaine des cinéastes)
  3. pp. 303-307
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  1. Black Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983)
  2. John Akomfrah
  3. pp. 307-309
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  1. From Birth Certificate of the International School of Cinema and Television in San Antonio de Los Baños, Cuba, Nicknamed the School of Three Worlds (Cuba, 1986)
  2. Fernando Birri
  3. pp. 309-312
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  1. FeCAViP Manifesto (France, 1990)
  2. Federation of Caribbean Audiovisual Professionals
  3. pp. 312-313
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  1. Final Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 1990)
  2. SADCC (South African Development Coordination Conference)
  3. pp. 313-315
  4. restricted access Download |
  1. Pocha Manifesto #1 (USA, 1994)
  2. Sandra Peña-Sarmiento
  3. pp. 316-318
  4. restricted access Download |
  1. Poor Cinema Manifesto (Cuba, 2004)
  2. Humberto Solás
  3. pp. 318-319
  4. restricted access Download |
  1. Jollywood Manifesto (Haiti, 2008)
  2. Ciné Institute
  3. p. 320
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  1. The Toronto Declaration: No Celebration of Occupation (Canada, 2009)
  2. John Greyson, Naomi Klein, Udi Aloni, Elle Flanders, Richard Fung, Kathy Wazana, Cynthia Wright, b h Yael
  3. pp. 321-322
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  1. 4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos
  2. pp. 323-327
  3. restricted access Download |
  1. Woman’s Place in Photoplay Production (USA, 1914)
  2. Alice Guy-Blaché
  3. pp. 328-329
  4. restricted access Download |
  1. Hands Off Love (France, 1927)
  2. Maxime Alexandre, Louis Aragon, Jean Arp, Jacques Baron, Jacques-André Boiffard, André Breton, Jean Carrive, Robert Desnos, Marcel Duhamel, Paul Eluard, Max Ernst, Jean Genbach, Camille Goemans, Paul Hooreman, Eugène Jolas, Michel Leiris, Georges Limbour, Georges Malkine, André Masson, Max Morise, Pierre Naville, Marcel Noll, Paul Nougé, Elliot Paul, Benjamin Péret, Jacques Prévert, Raymond Queneau, Man Ray, Georges Sadoul, Yves Tanguy, Roland Tual, and Pierre Unik
  3. pp. 330-336
  4. restricted access Download |
  1. The Perfect Filmic Appositeness of Maria Montez (USA, 1962)
  2. Jack Smith
  3. pp. 336-344
  4. restricted access Download |
  1. On Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967)
  2. pp. 344-345
  3. restricted access Download |
  1. Statement (USA, 1969)
  2. Kenneth Anger
  3. p. 346
  4. restricted access Download |
  1. Wet Dream Film Festival Manifesto (The Netherlands, 1970)
  2. S.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity: Germaine Greer, Al Goldstein, Jean Shrimpton, Jay Landeman, Richard Neville, Didi Wadidi, Mike Zwerkin)
  3. pp. 346-347
  4. restricted access Download |
  1. Women’s Cinema as Counter-Cinema (UK, 1973)
  2. Claire Johnston
  3. pp. 347-356
  4. restricted access Download |
  1. Manifesto for a Non-sexist Cinema (Canada, 1974)
  2. FECIP (Fédération européenne du cinéma progressiste)
  3. pp. 356-358
  4. restricted access Download |
  1. Womanifesto (USA, 1975)
  2. Feminists in the Media
  3. p. 359
  4. restricted access Download |
  1. Visual Pleasure and Narrative Cinema (UK, 1975)
  2. Laura Mulvey
  3. pp. 359-370
  4. restricted access Download |
  1. An Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977)
  2. Vilgot Sjöman
  3. pp. 370-375
  4. restricted access Download |
  1. For the Self-Expression of the Arab Woman (France, 1978)
  2. Heiny Srour, Salma Baccar, and Magda Wassef
  3. pp. 375-376
  4. restricted access Download |
  1. Manifesto of the Women Filmmakers (West Germany, 1979)
  2. Verband der Filmarbeiterinnen (Petra Haffter, Christiane Kaltenbach, and Hildegard Westbeld)
  3. pp. 376-377
  4. restricted access Download |
  1. Wimmin’s Fire Brigade Communiqué (Canada, 1982)
  2. Wimmin’s Fire Brigade
  3. pp. 377-378
  4. restricted access Download |
  1. Thoughts on Women’s Cinema: Eating Words, Voicing Struggles (USA, 1986)
  2. Yvonne Rainer
  3. pp. 378-382
  4. restricted access Download |
  1. The Post Porn Modernist Manifesto (USA, 1989)
  2. Annie Sprinkle, Veronica Vera, Frank Moores, Candida Royale, Leigh Gates
  3. p. 382
  4. restricted access Download |
  1. Statement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991)
  2. FEPACI (Fédération panafricaine des cinéastes)
  3. pp. 383-385
  4. restricted access Download |
  1. Puzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998)
  2. Vibeke Windeløv, Lene Børglum, Gerd Winther, Lili Hendriksen, Christina Loshe, and Mette Nelund
  3. pp. 385-388
  4. restricted access Download |
  1. Cinema with Tits (Spain, 1998)
  2. Icíar Bollaín
  3. pp. 388-390
  4. restricted access Download |
  1. My Porn Manifesto (France, 2002)
  2. Ovidie
  3. pp. 390-392
  4. restricted access Download |
  1. No More Mr. Nice Gay: A Manifesto (USA, 2009)
  2. Todd Verow
  3. pp. 392-396
  4. restricted access Download |
  1. Barefoot Filmmaking Manifesto (UK, 2009)
  2. Sally Potter
  3. pp. 396-397
  4. restricted access Download |
  1. Dirty Diaries Manifesto (Sweden, 2009)
  2. Mia Engberg
  3. pp. 397-400
  4. restricted access Download |
  1. 5. Militating Hollywood
  2. pp. 401-404
  3. restricted access Download |
  1. Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 1930)
  2. Motion Picture Producers and Distributors of America
  3. pp. 405-417
  4. restricted access Download |
  1. Red Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935)
  2. William Randolph Hearst
  3. pp. 417-420
  4. restricted access Download |
  1. Statement of Principles (USA, 1944)
  2. Motion Picture Alliance for the Preservation of American Ideals
  3. pp. 420-421
  4. restricted access Download |
  1. Screen Guide for Americans (USA, 1947)
  2. Ayn Rand
  3. pp. 422-432
  4. restricted access Download |
  1. White Elephant Art vs. Termite Art (USA, 1962)
  2. Manny Farber
  3. pp. 432-439
  4. restricted access Download |
  1. Super Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972)
  2. Kuumba Workshop
  3. p. 440
  4. restricted access Download |
  1. Full Frontal Manifesto (USA, 2001)
  2. Steven Soderbergh
  3. pp. 441-442
  4. restricted access Download |
  1. 6. The Creative Treatment of Actuality
  2. pp. 443-447
  3. restricted access Download |
  1. Towards a Social Cinema (France, 1930)
  2. Jean Vigo
  3. pp. 448-452
  4. restricted access Download |
  1. From “First Principles of Documentary” (UK, 1932)
  2. John Grierson
  3. pp. 453-459
  4. restricted access Download |
  1. Manifesto on the Documentary Film (UK, 1933)
  2. Oswell Blakeston
  3. pp. 460-461
  4. restricted access Download |
  1. Declaration of the Group of Thirty (France, 1953)
  2. Jean Painlevé, Jacques-Yves Cousteau, Alain Resnais, Alexandre Astruc, Georges Franju, Pierre Kast, Jean Mitry, and thirty-seven others
  3. pp. 461-462
  4. restricted access Download |
  1. Initial Statement of the Newsreel (USA, 1967)
  2. New York Newsreel
  3. pp. 462-463
  4. restricted access Download |
  1. Nowsreel, or the Potentialities of a Political Cinema (USA, 1970)
  2. Robert Kramer, New York Newsreel
  3. pp. 463-464
  4. restricted access Download |
  1. Documentary Filmmakers Make Their Case (Poland, 1971)
  2. Bohdan Kosiński, Krzysztof Kieślowski, and Tomasz Zygadło
  3. pp. 464-469
  4. restricted access Download |
  1. The Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989)
  2. Kidlat Tahimik, Stephen Teo, Serge Daney, Manop Udomdej and eight others
  3. pp. 469-470
  4. restricted access Download |
  1. Minnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999)
  2. Werner Herzog
  3. pp. 471-472
  4. restricted access Download |
  1. Defocus Manifesto (Denmark, 2000)
  2. Lars von Trier
  3. pp. 472-473
  4. restricted access Download |
  1. Kill the Documentary as We Know It (USA, 2002)
  2. Jill Godmilow
  3. pp. 473-476
  4. restricted access Download |
  1. Ethnographic Cinema (EC): A Manifesto / A Provocation (USA, 2003)
  2. Jay Ruby
  3. pp. 476-477
  4. restricted access Download |
  1. Reality Cinema Manifesto (Russia, 2005)
  2. Vitaly Manskiy
  3. pp. 478-479
  4. restricted access Download |
  1. Documentary Manifesto (USA, 2008)
  2. Albert Maysles
  3. pp. 479-480
  4. restricted access Download |
  1. China Independent Film Festival Manifesto: Shamans * Animals (People’s Republic of China, 2011)
  2. By several documentary filmmakers who participated and also who did not participate in the festival
  3. pp. 480-484
  4. restricted access Download |
  1. 7. States, Dictatorships, the Comitern, and Theocracies
  2. pp. 485-489
  3. restricted access Download |
  1. Capture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925)
  2. Willi Münzenberg
  3. pp. 490-492
  4. restricted access Download |
  1. The Legion of Decency Pledge (USA, 1934)
  2. Archbishop John McNicholas
  3. p. 492
  4. restricted access Download |
  1. Creative Film (Germany, 1935)
  2. Joseph Goebbels
  3. pp. 493-495
  4. restricted access Download |
  1. Vigilanti Cura: On Motion Pictures (Vatican City, 1936)
  2. Pope Pius XI
  3. pp. 495-504
  4. restricted access Download |
  1. Four Cardinal Points of A Revolução de Maio (Portugal, 1937)
  2. António Lopes Ribeiro
  3. pp. 505-506
  4. restricted access Download |
  1. From On the Art of Cinema (North Korea, 1973)
  2. Kim Jong-il
  3. pp. 506-514
  4. restricted access Download |
  1. 8. Archives, Museums, Festivals, and Ciinematheques
  2. pp. 515-519
  3. restricted access Download |
  1. A New Source of History: The Creation of a Depository for Historical Cinematography (Poland/France, 1898)
  2. Bolesław Matuszewski
  3. pp. 520-523
  4. restricted access Download |
  1. The Film Prayer (USA, c. 1920)
  2. A. P. Hollis
  3. pp. 523-524
  4. restricted access Download |
  1. The Film Society (UK, 1925)
  2. Iris Barry
  3. pp. 524-525
  4. restricted access Download |
  1. Filmliga Manifesto (The Netherlands, 1927)
  2. Joris Ivens (Technical Advisor), Henrik Scholte (Chairman), Men’no Ter Bbaak (Secr. Treasurer), Hans Ivens (Secretary), Charlie Toorop, L. J. Jordan, Cees Laseur, Hans Van Meerten, Ed Pelster (Technical Advisor)
  3. pp. 525-526
  4. restricted access Download |
  1. Statement of Purposes (USA, 1948)
  2. Amos Vogel, Cinema 16
  3. pp. 527-528
  4. restricted access Download |
  1. The Importance of Film Archives (UK, 1948)
  2. Ernest Lindgren
  3. pp. 529-532
  4. restricted access Download |
  1. A Plea for a Canadian Film Archive (Canada, 1949)
  2. Hye Bossin
  3. pp. 533-534
  4. restricted access Download |
  1. Open Letter to Film-Makers of the World (USA, 1966)
  2. Jonas Mekas
  3. pp. 534-539
  4. restricted access Download |
  1. A Declaration from the Committee for the Defense of La Cinémathèque française (France, 1968)
  2. Committee for the Defense of La Cinémathèque française: Jean Renoir, Alain Resnais, Henri Alekan, Jean-Luc Godard, Pierre Kast, Jacques Rivette, François Truffaut, Jacques Doniol-Valcroze, J.-G. Albicocco, Alexandre Astruc, Roland Barthes, Robert Benayoun, Claude Berri, Mag Modard, Robert Bresson, Marcel Brion, Philippe de Broca, Marcel Carné, Claude Chabrol, H. Chapier, Henri-Georges Clouzot, Philippe Labro, Jean-Paul le Chanois, Claude Lelouch, Claude Mauriac, Jean Rouch
  3. pp. 539-540
  4. restricted access Download |
  1. Filmmakers versus the Museum of Modern Art (USA, 1969)
  2. Hollis Frampton, Ken Jacobs, and Michael Snow
  3. pp. 540-543
  4. restricted access Download |
  1. Anthology Film Archives Manifesto (USA, 1970)
  2. P. Adams Sitney
  3. pp. 543-544
  4. restricted access Download |
  1. Toward an Ethnographic Film Archive (USA, 1971)
  2. Alan Lomax
  3. pp. 544-554
  4. restricted access Download |
  1. Brooklyn Babylon Cinema Manifesto (USA, 1998)
  2. Scott Miller Berry and Stephen Kent Jusick
  3. pp. 555-556
  4. restricted access Download |
  1. Don’t Throw Film Away: The FIAF 70th Anniversary Manifesto (France, 2008)
  2. Hisashi Okajima and La fédération internationale des archives du fi lm Manifesto Working Group
  3. pp. 556-558
  4. restricted access Download |
  1. The Lindgren Manifesto: The Film Curator of the Future (Italy, 2010)
  2. Paolo Cherchi Usai
  3. pp. 558-559
  4. restricted access Download |
  1. Film Festival Form: A Manifesto (UK, 2012)
  2. Mark Cousins
  3. pp. 559-562
  4. restricted access Download |
  1. 9. SOUNDS AND SILENCE
  2. pp. 563-565
  3. restricted access Download |
  1. A Statement on Sound (USSR, 1928)
  2. Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov
  3. pp. 566-567
  4. restricted access Download |
  1. A Rejection of the Talkies (USA, 1931)
  2. Charlie Chaplin
  3. pp. 568-569
  4. restricted access Download |
  1. A Dialogue on Sound: A Manifesto (UK, 1934)
  2. Basil Wright and B. Vivian Braun
  3. pp. 570-572
  4. restricted access Download |
  1. Amalfi Manifesto (Italy, 1967)
  2. Michelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, Gillo Pontecorvo, Marco Bellocchio, Vittorio Cottafavi, Vittorio De Sica, Alberto Lattuada, Alfredo Leonardi, Valentino Orsini, Brunello Rondi, Francesco Rosi, Paolo Taviani, Vittorio Taviani
  3. p. 572
  4. restricted access Download |
  1. 10. The Digital Revolution
  2. pp. 573-575
  3. restricted access Download |
  1. Culture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966)
  2. Stan VanDerBeek
  3. pp. 576-579
  4. restricted access Download |
  1. The Digital Revolution and the Future Cinema (Iran, 2000)
  2. Samira Makhmalbaf
  3. pp. 580-585
  4. restricted access Download |
  1. The Pluginmanifesto (UK, 2001)
  2. Ana Kronschnabl
  3. pp. 586-588
  4. restricted access Download |
  1. Digital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 2003)
  2. Khavn de la Cruz
  3. pp. 588-590
  4. restricted access Download |
  1. 11. Aesthetics and the Futures of Cinema
  2. pp. 591-594
  3. restricted access Download |
  1. The Birth of the Sixth Art (France, 1911)
  2. Ricciotto Canudo
  3. pp. 595-603
  4. restricted access Download |
  1. The Birth of a New Avant Garde: La caméra-stylo (France, 1948)
  2. pp. 603-607
  3. restricted access Download |
  1. From Preface to Film (UK, 1954)
  2. Raymond Williams
  3. pp. 607-613
  4. restricted access Download |
  1. The Snakeskin (Sweden, 1965)
  2. Ingmar Bergman
  3. pp. 614-616
  4. restricted access Download |
  1. Manifesto (Italy, 1965)
  2. Roberto Rossellini, Bernardo Bertolucci, Tinto Brass, Gianni Amico, Adriano Apra, Gian Vittorio Baldi, and Vittorio Cottafavi
  3. pp. 616-617
  4. restricted access Download |
  1. Manifesto on the Release of La Chinoise (France, 1967)
  2. Jean-Luc Godard
  3. p. 618
  4. restricted access Download |
  1. Direct Action Cinema Manifesto (USA, 1985)
  2. Rob Nilsson
  3. pp. 618-619
  4. restricted access Download |
  1. Remodernist Film Manifesto (USA, 2008)
  2. Jesse Richards
  3. pp. 619-622
  4. restricted access Download |
  1. The Age of Amateur Cinema Will Return (People’s Republic of China, 2010)
  2. Jia Zhangke
  3. pp. 622-624
  4. restricted access Download |
  1. Appendix. What Is a “Manifesto Film”?
  2. pp. 625-628
  3. restricted access Download |
  1. Notes
  2. pp. 529-634
  3. restricted access Download |
  1. Acknowledgments of Permissions
  2. pp. 635-640
  3. restricted access Download |
  1. Index
  2. pp. 641-652
  3. restricted access Download |

Additional Information

ISBN
9780520957411
Related ISBN
9780520276741
MARC Record
OCLC
894795921
Pages
504
Launched on MUSE
2014-11-08
Language
English
Open Access
No
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