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  Volume 12, Number 1, Spring 2012

Table of Contents

Editors' Forward

Editors' Foreword

pp. viii-xiv | DOI: 10.1353/mov.2012.0006

Features

Encounters with the Real: Historicizing Stan Brakhage's The Act of Seeing with one's own eyes

pp. 1-17 | DOI: 10.1353/mov.2012.0001

Pressed into the Service of Cinema: Issues in Preserving the Software of Hollis Frampton and the Digital Arts Lab

pp. 18-43 | DOI: 10.1353/mov.2012.0024

Access and the Experimental Film: New Technologies and Anthology Film Archives' Institutionalization of the Avant-Garde

pp. 44-64 | DOI: 10.1353/mov.2012.0029

Archiving, Distribution, and Experimental Moving Image Histories

pp. 65-86 | DOI: 10.1353/mov.2012.0004

Forum

Experimental / Avant-Garde Moving Images and the Archive: A Virtual Roundtable

pp. 87-104 | DOI: 10.1353/mov.2012.0009

Marginalization: Historical/Terminological

pp. 87-88 | DOI: 10.1353/mov.2012.0030

"Still Separate . . . but Equal"?

pp. 89-91 | DOI: 10.1353/mov.2012.0036

Notes from a Cautious Optimist

pp. 91-92 | DOI: 10.1353/mov.2012.0037

Artist as Archivist in the Digital Transition

pp. 92-95 | DOI: 10.1353/mov.2012.0031

At This Moment

pp. 95-97 | DOI: 10.1353/mov.2012.0032

Experimental Film on the Digital Doorstep

pp. 97-99 | DOI: 10.1353/mov.2012.0033

In Search of Sight-Specific Cinema

pp. 99-101 | DOI: 10.1353/mov.2012.0034

"The Archives of Our Memory": Hollis Frampton's Marmoreal Mammary

pp. 101-104 | DOI: 10.1353/mov.2012.0035

Unessential Cinema: An Interview with Andrew Lampert

pp. 105-112 | DOI: 10.1353/mov.2012.0020

Archives and Images as Repositories of Time, Language, and Forms from the Past: A Conversation with Daniel Eisenberg

pp. 112-118 | DOI: 10.1353/mov.2012.0025

When Visual Art Meets Cinema: The Reconstruction of "Projekt I-'90" by Peter Struycken

pp. 119-128 | DOI: 10.1353/mov.2012.0000

Who Is Going to Look at That?: Experiences, Possibilities, and Pitfalls of Keeping Experimental Film in a Mid-sized Film Archive

pp. 128-135 | DOI: 10.1353/mov.2012.0005

Reviews

Books

Optic Antics: The Cinema of Ken Jacobs (review)

pp. 136-139 | DOI: 10.1353/mov.2012.0010

Meshes of the Afternoon (review)

pp. 139-142 | DOI: 10.1353/mov.2012.0015

The Filming of Modern Life: European Avant-Garde Films of the 1920s (review)

pp. 143-146 | DOI: 10.1353/mov.2012.0019

On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton (review)

pp. 146-148 | DOI: 10.1353/mov.2012.0023

Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000 (review)

pp. 149-151 | DOI: 10.1353/mov.2012.0028

DVDs

The Films of Alan Berliner (review)

pp. 151-153 | DOI: 10.1353/mov.2012.0003

The Complete Magick Lantern Cycle (review)

pp. 153-156 | DOI: 10.1353/mov.2012.0008

La Rabbia (1963) (review)

pp. 156-158 | DOI: 10.1353/mov.2012.0013

Private Century (2005-7) (review)

pp. 159-161 | DOI: 10.1353/mov.2012.0017

Conferences and Festivals

Robert Flaherty Film Seminar, 2011: Sonic Truth (review)

pp. 162-165 | DOI: 10.1353/mov.2012.0021

Hidden Cinema of the Southwest and Mexico (review)

pp. 166-170 | DOI: 10.1353/mov.2012.0026

Making Meaning of the Audiovisual Archive: Filmforum 2011 (review)

pp. 170-175 | DOI: 10.1353/mov.2012.0011

Research Areas

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