German cinema is best known for its art cinema and its long line of outstanding individual directors. The double spotlight on these two subjects has only deepened the obscurity surrounding the popular cinema. A Second Life performs a kind of archaeology on a period largely overlooked: the first two decades of German cinema. This collection of essays by established authors refocuses the terms of a debate that will develop in the years to come concerning the historical and cultural significance of popular cinema in Wilhelmine Germany.

Advertising has played a central role in shaping the history of modern media. While often identified with American consumerism and the rise of the ‘Information Society,’ motion picture advertising has been part of European visual culture since the late nineteenth century. With the global spread of ad agencies, moving image advertisements became a privileged cultural form to make people experience the qualities and uses of branded commodities, to articulate visions of a ‘good life,’ and to incite social relationships. Abandoning a conventional delineation of fields by medium, country, or period, this book suggests a lateral view. It charts the audiovisual ...

Alexander Kluge is best known as a founding member of the New German Cinema. His work, however, spans a diverse range of fields and, over the last fifty years, he has been active as a filmmaker, writer and television producer. This book—the first of its kind in English—comprises a wide selection of texts, including articles and stories by Kluge, television transcripts, critical essays by renowned international scholars, and interviews with Kluge himself. It will be a valuable resource for students and scholars in the fields of film, television, and literary studies, as well as those interested in exploring the intersections ...

Robert Pippin and Tom Gunning discuss Douglass Sirk.

The Center for Experimental Lectures presents Andrianna Campbell, Taraneh Fazeli, Sb Fuller, Sara Magenheimer, and Em Rooney Hosted by The Shandaken Project at Storm King New Windsor, NY Sunday September 4th, 2016, 3pm-evening Andrianna Campbell begins the day at 3pm at Storm King Art Center. Campbell, who was a resident of The Shandaken Project at Storm King earlier this summer, will offer a guided tour of speculative artworks by over 20 contemporary artists. In her many years of making inquiries about contemporary cultural production, Campbell has formed significant relationships with the artists invited to participate in this experimental narrative. Campbell will present the speculative ...

Anna Sanders Films Identity Spot is a monochrome sequence of images derived from an original 20 second colour film produced as an identity spot for Anna Sanders Films, Paris. Anna Sanders was founded by Philippe Parreno, Charles de Meaux and Pierre Huyghe in 1997. Thanks to Lisa Rovner for her role in the film; Tommaso Corvi-Mora, London; Air de Paris, Paris. Sean Dack is an artist based in New York. Liam Gillick is an artist based in London and New York.

The production, distribution, and perception of moving images are undergoing a radical transformation. Ever-faster computers, digital technology, and microelectronic are joining forces to produce advanced audiovision—the media vanishing point of the 20th century. Very little will remain unchanged. The classic institutions for the mediation of film—cinema and television—are revealed to be no more than interludes in the broader history of the audiovisual media. This book interprets these changes not simply as a cultural loss but also as a challenge: the new audiovisions have to be confronted squarely to make strategic intervention possible. Audiovisions provides a historical underpinning for this active ...

I met Barbara Hammer and Every Ocean Hughes (who then went by Emily) on the same night in 2011. From my journal, dated May 8th of that year: . . . last night went to the Kitchen for Emily Roysdon’s A Gay Bar Called Everywhere. A collective theater experiment with a large cast of friends and acquaintances. Was very piqued and moved—various representations of clichés and pathos and themes of ‘our community’. Barbara Hammer homage to Claude Cahun. Vanessa Anspaugh and Aretha Aoki’s duet re: passive-aggressive friend-love, many more vignettes. Met Emily at Julius after and shared a cab home—new friend? ...

Ingmar Bergman is worldwide known as a film and stage director. Yet no-one has attempted to compare his stage and screen activities. In Between Stage and Screen, Egil Törnqvist examines formal and thematical correspondences and differences between a number of Bergman’s stage, screen, and radio productions. In the prologue Bergman’s spiritual and aesthetic heritage and his position in the twentieth century media landscape is outlined. In the epilogue the question is answered to what extent one can speak of Bergman’s directorial ‘method’ irrespective of the chosen medium.

New technological media such as film, photography and computers have altered the way we perceive possible relations between stillness and motion in the visual arts. Traditionally, cinema theory saw cinema and especially the ‘illusion of motion’ as part of the ideological swindle of the basic cinematic apparatus. This collection of essays by acclaimed international scholars including Tom Gunning, Thomas Elsaesser, Mark B.N. Hansen, George Baker, Ina Blom and Christa Blümlinger, starts out from a different premise to analyse stillness and motion as part of a larger ecology of images and media. They argue that the strategic uses of stillness and ...

In a playful conversation with the artist Jonas Mekas, John Lennon and Yoko Ono give insights into their artistic practices, such as singing, influencing each other, and collaborating in films such as Legs which shows the naked legs of the New York artistic community. ——— December 1970, Regency Hotel, New York City: After a spontaneous film festival in the Elgin theatre for which Yoko Ono and John Lennon had produced two new films in only two weeks, the organiser Jonas Mekas and the two artists sat together, exhausted and probably also very happy. They talk about how the audience received the films ...