This comprehensive new monograph on the influential British artist-filmmaker—renown for his playful and formally ingenious subversion of the everyday world—contains essays by Ian Christie, Martin Herbert, Kathrin Meyer, and Ethan de Seife.

Edited by Cindy Keefer and Jaap Guldemond. This new monograph explores the position of Fischinger's work within the international avant-garde. It examines his animation and painting, his use of music, his experiences in Hollywood, the Lumigraph, visual music theories, and his influence on today's filmmakers, artists and animators. The book also contains previously unpublished documents including texts by Fischinger himself, and unshot animation drawings. Essays compiled and commissioned by editor Keefer include new research and texts by Jean-Michel Bouhours, Jeanpaul Goergen, Ilene Susan Fort, James Tobias, Cindy Keefer, Richard Brown, Joseph Hyde, Paul Hertz, Joerg Jewanski, and more.

What does it mean for film and video to be experimental? In this collection of essays framed by the concept “ex-”—meaning from, outside, and no longer—Akira Mizuta Lippit explores the aesthetic, technical, and theoretical reverberations of avant-garde film and video. Ex-Cinema is a sustained reflection on the ways in which experimental media artists move outside the conventions of mainstream cinema and initiate a dialogue on the meaning of cinema itself.

“Moving Shadows: Experimental Film Practices in a Landscape of Change is a wide-ranging and accessible introduction to contemporary artisanal film practice, capturing a moment when, in the face of new digital technologies, experimental filmmakers see themselves as [what van Ingen calls] “lo-fi analogue” artists.

The history of the cinema magazine Film Culture is unique. Founded in New York in 1955 by Jonas and Adolfas Mekas, the journal, first facing auteur cinema is needed quickly as the place of debate and analysis essential to almost everything that has important in American experimental cinema.

Born in Lithuania in 1922, Jonas Mekas has made over 80 films, videos and installations since his arrival in New York in 1949. Each piece is inventoried and accompanied by an image, a list of public collections and distributors, the technical data and one or several short texts summarizing the content of the work.

Józef Robakowski. My Own Cinema is a new publication portraying a precursor of the film neo-avant-garde and the co-creator of the video art scene in Poland. An artist whose image combines that of an experimenter and media analyst with those of an anarchistic neo-Dadaist and self-declared nihilist; heir to the traditions of the avant-garde, enthusiast for cultural peripheries, valued teacher, and indefatigable opponent of institutional hierarchies.

Este libro se basó en artículos que publiqué entre 1967 y 1970 en The Los Angeles Free Press, el primero y el más influyente de los periódicos underground que florecieron en los Estados Unidos en esa época. Las columnas sobre nuevos medios aparecieron bajo el logo "Cine expandido", un término acuñado entre 1966 por el cineasta experimental y artista pionero de multimedios norteamericano Stan Vanderbeek. Investigué y escribí el resto del libro en 1969 y principios de 1970.

Sabine Folie and Susanne Titz (Ed.), edited for the Generali Foundation, Vienna and Museum Abteiberg, Mönchengladbach 2012.

With introductions by Sabine Folie and Susanne Titz, essays by Thom Andersen, Rainer Bellenbaum / Sabeth Buchmann, Yve-Alain Bois and short texts by Morgan Fisher

Sabine Folie and Susanne Titz, edited for the Generali Foundation, Vienna and Museum Abteiberg, Mönchengladbach 2012.

With introductions by Sabine Folie and Susanne Titz