1. Encounters with the Real: Historicizing Stan Brakhage's The Act of Seeing with one's own eyes
  2. Juan Carlos Kase
  3. pp. 1-17
  4. DOI: 10.1353/mov.2012.0001
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  1. Pressed into the Service of Cinema: Issues in Preserving the Software of Hollis Frampton and the Digital Arts Lab
  2. Andy Uhrich
  3. pp. 18-43
  4. DOI: 10.1353/mov.2012.0024
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  1. Access and the Experimental Film: New Technologies and Anthology Film Archives' Institutionalization of the Avant-Garde
  2. Kristen Alfaro
  3. pp. 44-64
  4. DOI: 10.1353/mov.2012.0029
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  1. Archiving, Distribution, and Experimental Moving Image Histories
  2. Julia Knight
  3. pp. 65-86
  4. DOI: 10.1353/mov.2012.0004
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  1. Marginalization: Historical/Terminological
  2. Scott MacDonald
  3. pp. 87-88
  4. DOI: 10.1353/mov.2012.0030
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  1. Experimental / Avant-Garde Moving Images and the Archive: A Virtual Roundtable
  2. Devin Orgeron, Marsha Orgeron
  3. pp. 87-104
  4. DOI: 10.1353/mov.2012.0009
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  1. "Still Separate . . . but Equal"?
  2. Margaret Parsons
  3. pp. 89-91
  4. DOI: 10.1353/mov.2012.0036
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  1. Notes from a Cautious Optimist
  2. Haden Guest
  3. pp. 91-92
  4. DOI: 10.1353/mov.2012.0037
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  1. Artist as Archivist in the Digital Transition
  2. Bill Brand
  3. pp. 92-95
  4. DOI: 10.1353/mov.2012.0031
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  1. At This Moment
  2. Timoleon Wilkins
  3. pp. 95-97
  4. DOI: 10.1353/mov.2012.0032
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  1. Experimental Film on the Digital Doorstep
  2. Bob Brodsky, Toni Treadway
  3. pp. 97-99
  4. DOI: 10.1353/mov.2012.0033
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  1. In Search of Sight-Specific Cinema
  2. Ross Lipman
  3. pp. 99-101
  4. DOI: 10.1353/mov.2012.0034
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  1. "The Archives of Our Memory": Hollis Frampton's Marmoreal Mammary
  2. Ken Eisenstein
  3. pp. 101-104
  4. DOI: 10.1353/mov.2012.0035
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  1. Unessential Cinema: An Interview with Andrew Lampert
  2. Joel Schlemowitz, Andrew Lampert
  3. pp. 105-112
  4. DOI: 10.1353/mov.2012.0020
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  1. When Visual Art Meets Cinema: The Reconstruction of "Projekt I-'90" by Peter Struycken
  2. Gert Hoogeveen, Simona Monizza
  3. pp. 119-128
  4. DOI: 10.1353/mov.2012.0000
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  1. Optic Antics: The Cinema of Ken Jacobs (review)
  2. Erika Balsom
  3. pp. 136-139
  4. DOI: 10.1353/mov.2012.0010
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  1. Meshes of the Afternoon (review)
  2. Alla Gadassik
  3. pp. 139-142
  4. DOI: 10.1353/mov.2012.0015
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  1. The Filming of Modern Life: European Avant-Garde Films of the 1920s (review)
  2. Tom Kemper
  3. pp. 143-146
  4. DOI: 10.1353/mov.2012.0019
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  1. On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton (review)
  2. John Klacsmann
  3. pp. 146-148
  4. DOI: 10.1353/mov.2012.0023
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  1. Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000 (review)
  2. Federico Windhausen
  3. pp. 149-151
  4. DOI: 10.1353/mov.2012.0028
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  1. The Films of Alan Berliner (review)
  2. Roger Beebe
  3. pp. 151-153
  4. DOI: 10.1353/mov.2012.0003
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  1. The Complete Magick Lantern Cycle (review)
  2. Eliot Chayt
  3. pp. 153-156
  4. DOI: 10.1353/mov.2012.0008
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  1. La Rabbia (1963) (review)
  2. Leo Goldsmith
  3. pp. 156-158
  4. DOI: 10.1353/mov.2012.0013
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  1. Private Century (2005-7) (review)
  2. Daniel Mauro
  3. pp. 159-161
  4. DOI: 10.1353/mov.2012.0017
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  1. Robert Flaherty Film Seminar, 2011: Sonic Truth (review)
  2. Irene Gustafson
  3. pp. 162-165
  4. DOI: 10.1353/mov.2012.0021
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  1. Hidden Cinema of the Southwest and Mexico (review)
  2. Amanda D. Howard
  3. pp. 166-170
  4. DOI: 10.1353/mov.2012.0026
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  1. Making Meaning of the Audiovisual Archive: Filmforum 2011 (review)
  2. Ramesh Kumar
  3. pp. 170-175
  4. DOI: 10.1353/mov.2012.0011
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  1. Editors' Foreword
  2. Marsha Orgeron, Devin Orgeron
  3. pp. viii-xiv
  4. DOI: 10.1353/mov.2012.0006
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