In this Book

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Writings on film from an award-winning filmmaker and poet.

As the writer, director, producer, and cinematographer of almost all her 30 films, videos, and shorts, Abigail Child has been recognized as a major and influential practitioner of experimental cinema since the early 1970s. Hallmarks of her style are the appropriation and reassembly of found footage and fragments from disparate visual sources, ranging from industrial films and documentaries to home movies, vacation photography, and snippets of old B movies.

The resulting collages and montages are cinematic narratives that have been consistently praised for their beauty and sense of wonder and delight in the purely visual. At the same time, Child's films are noted for their incisive political commentary on issues such as gender and sexuality, class, voyeurism, poverty, and the subversive nature of propaganda.

In the essays of This Is Called Moving, Child draws on her long career as a practicing poet as well as a filmmaker to explore how these two language systems inform and cross-fertilize her work. For Child, poetry and film are both potent means of representation, and by examining the parallels between them—words and frames, lines and shots, stanzas and scenes—she discovers how the two art forms re-construct and re-present social meaning, both private and collective.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Contents
  2. pp. vii-viii
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  1. List of Illustrations
  2. pp. ix-x
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  1. Poetry in Motion
  2. pp. xi-xx
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  1. Preface
  2. pp. xxi-xxv
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  1. Sex Talk
  1. Before Agreement
  2. pp. 4-7
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  1. Rewire/Speak in Disagreement (with Sally Silvers)
  2. pp. 8-18
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  1. Melodrama and Montage (On Nicholas Brossard/Hannah Weiner)
  2. pp. 19-33
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  1. Sex Talk (with Camille Roy)
  2. pp. 34-43
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  1. Sade's Motor
  2. pp. 44-52
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  1. Active Theory
  2. pp. 53-69
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  1. Active Theory 2: Antiphon
  2. pp. 70-83
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  1. Matrix
  1. Cross-Referencing the Unites of Sight and Sound/Film and Language
  2. pp. 87-90
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  1. Hand Signals Overcome Noise, Distance
  2. pp. 91-94
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  1. Lined Up Bulk Senses (On Larry Eigner)
  2. pp. 95-96
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  1. All Three Mixed Please
  2. pp. 97-103
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  1. "In the Darkest Night Dart These Bright Saloons" (On Manuel DeLanda/Vivienne Dick/Henry Hills)
  2. pp. 104-107
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  1. Word of Mouth (On Aline Mayer)
  2. pp. 108-109
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  1. Memory Works (On Len Lye)
  2. pp. 110-112
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  1. Hand Signals 2 (On Mary Lattimore/Nancy Miller/Anita Miles)
  2. pp. 113-116
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  1. Baroque Cinema (On Warren Sonbert)
  2. pp. 117-119
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  1. Deselective Attention (On Peter Kubelka/Martin Arnold/Bruce Conner/Arthur Lipsett)
  2. pp. 120-131
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  1. Sound Talk
  2. pp. 132-139
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  1. Antiserum (On Luis Bunuel/Dan Eisenberg)
  2. pp. 140-152
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  1. Outside Topographies: Three Moments in Film (On Andy Warhol/Dziga Vertov)
  2. pp. 153-158
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  1. The Exhibit and the Circulation (On Dziga Vertov/Sergei Eisenstein)
  2. pp. 159-171
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  1. Interrogations
  1. Time Corners Interview (With Charles Bernstein)
  2. pp. 175-189
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  1. Prefaces
  2. pp. 190-196
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  1. Preface for Prefaces: Part 1 of "Is This What You Were Born For?"
  2. pp. 197-199
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  1. Mutiny
  2. pp. 200-203
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  1. Locales Intervew (With Michael Amnasan)
  2. pp. 204-208
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  1. Covert Action
  2. pp. 209-214
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  1. So This Is Called Moving? Interview (With Madeline Leskin)
  2. pp. 215-227
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  1. Mayhem
  2. pp. 228-230
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  1. A Motive for Mayhem
  2. pp. 231-236
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  1. Mercy
  2. pp. 237-239
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  1. The Furnished Frame and the Social Net
  2. pp. 240-244
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  1. Being a Witness: Notes for B/side
  2. pp. 245-264
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  1. Notes
  2. pp. 265-279
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  1. Selected Works by the Author
  2. pp. 281-282
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  1. Index
  2. pp. 283-290
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Additional Information

ISBN
9780817381301
Related ISBN
9780817351601
MARC Record
OCLC
268793830
Launched on MUSE
2012-01-01
Language
English
Open Access
No
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