In this Issue

Table of Contents

Editors' Forward

Editors' Foreword

Marsha Orgeron, Devin Orgeron
pp. viii-xiv
DOI: https://doi.org/10.1353/mov.2012.0006
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Features

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

Juan Carlos Kase
pp. 1-17
DOI: https://doi.org/10.1353/mov.2012.0001
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Pressed into the Service of Cinema: Issues in Preserving the Software of Hollis Frampton and the Digital Arts Lab

Andy Uhrich
pp. 18-43
DOI: https://doi.org/10.1353/mov.2012.0024
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Access and the Experimental Film: New Technologies and Anthology Film Archives' Institutionalization of the Avant-Garde

Kristen Alfaro
pp. 44-64
DOI: https://doi.org/10.1353/mov.2012.0029
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Archiving, Distribution, and Experimental Moving Image Histories

Julia Knight
pp. 65-86
DOI: https://doi.org/10.1353/mov.2012.0004
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Forum

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

Devin Orgeron, Marsha Orgeron
pp. 87-104
DOI: https://doi.org/10.1353/mov.2012.0009
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Marginalization: Historical/Terminological

Scott MacDonald
pp. 87-88
DOI: https://doi.org/10.1353/mov.2012.0030
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"Still Separate . . . but Equal"?

Margaret Parsons
pp. 89-91
DOI: https://doi.org/10.1353/mov.2012.0036
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Notes from a Cautious Optimist

Haden Guest
pp. 91-92
DOI: https://doi.org/10.1353/mov.2012.0037
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Artist as Archivist in the Digital Transition

Bill Brand
pp. 92-95
DOI: https://doi.org/10.1353/mov.2012.0031
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At This Moment

Timoleon Wilkins
pp. 95-97
DOI: https://doi.org/10.1353/mov.2012.0032
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Experimental Film on the Digital Doorstep

Bob Brodsky, Toni Treadway
pp. 97-99
DOI: https://doi.org/10.1353/mov.2012.0033
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In Search of Sight-Specific Cinema

Ross Lipman
pp. 99-101
DOI: https://doi.org/10.1353/mov.2012.0034
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"The Archives of Our Memory": Hollis Frampton's Marmoreal Mammary

Ken Eisenstein
pp. 101-104
DOI: https://doi.org/10.1353/mov.2012.0035
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Unessential Cinema: An Interview with Andrew Lampert

Joel Schlemowitz, Andrew Lampert
pp. 105-112
DOI: https://doi.org/10.1353/mov.2012.0020
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Archives and Images as Repositories of Time, Language, and Forms from the Past: A Conversation with Daniel Eisenberg

Frances Guerin, Daniel Eisenberg
pp. 112-118
DOI: https://doi.org/10.1353/mov.2012.0025
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When Visual Art Meets Cinema: The Reconstruction of "Projekt I-'90" by Peter Struycken

Gert Hoogeveen, Simona Monizza
pp. 119-128
DOI: https://doi.org/10.1353/mov.2012.0000
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Who Is Going to Look at That?: Experiences, Possibilities, and Pitfalls of Keeping Experimental Film in a Mid-sized Film Archive

Annette Groschke, Martin Koerber, Daniel Meiller
pp. 128-135
DOI: https://doi.org/10.1353/mov.2012.0005
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Reviews

Books

Optic Antics: The Cinema of Ken Jacobs (review)

Erika Balsom
pp. 136-139
DOI: https://doi.org/10.1353/mov.2012.0010
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Meshes of the Afternoon (review)

Alla Gadassik
pp. 139-142
DOI: https://doi.org/10.1353/mov.2012.0015
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The Filming of Modern Life: European Avant-Garde Films of the 1920s (review)

Tom Kemper
pp. 143-146
DOI: https://doi.org/10.1353/mov.2012.0019
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On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton (review)

John Klacsmann
pp. 146-148
DOI: https://doi.org/10.1353/mov.2012.0023
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Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000 (review)

Federico Windhausen
pp. 149-151
DOI: https://doi.org/10.1353/mov.2012.0028
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DVDs

The Films of Alan Berliner (review)

Roger Beebe
pp. 151-153
DOI: https://doi.org/10.1353/mov.2012.0003
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The Complete Magick Lantern Cycle (review)

Eliot Chayt
pp. 153-156
DOI: https://doi.org/10.1353/mov.2012.0008
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La Rabbia (1963) (review)

Leo Goldsmith
pp. 156-158
DOI: https://doi.org/10.1353/mov.2012.0013
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Private Century (2005-7) (review)

Daniel Mauro
pp. 159-161
DOI: https://doi.org/10.1353/mov.2012.0017
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Conferences and Festivals

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

Irene Gustafson
pp. 162-165
DOI: https://doi.org/10.1353/mov.2012.0021
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Hidden Cinema of the Southwest and Mexico (review)

Amanda D. Howard
pp. 166-170
DOI: https://doi.org/10.1353/mov.2012.0026
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Making Meaning of the Audiovisual Archive: Filmforum 2011 (review)

Ramesh Kumar
pp. 170-175
DOI: https://doi.org/10.1353/mov.2012.0011
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