Film Manifestos and Global Cinema Cultures: A Critical Anthology

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Univ of California Press, 26.03.2014 - 651 Seiten
Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world.

This volume collects the major European ÒwavesÓ and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme Ô95); Latin American Third Cinemas (Birri, SanjinŽs, Espinosa, Solanas); radical art and the avant-garde (Bu–uel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bolla’n, Debord, Hermosillo, Isou, Kieslowski, PainlevŽ, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.
 

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Inhalt

THE AVANTGARDES
13
Variant of a Manifesto USSR 1922
23
Constructivism in the Cinema USSR 1928
29
Manifesto on Que Viva Mexico USA 1933
38
An Open Letter to the Film Industry and to All Who Are Interested
44
No More Flat Feet France 1952
50
A Statement of Principles USA 1961
56
From Metaphors on Vision USA 1963
62
The Luze Ação Manifesto Brazil 1973
284
Manifesto of the National Front of Cinematographers
294
Institute of Cinema Nicaragua 1979
298
A Statement by the Black
307
Final Communique of the First Frontline Film Festival
313
Jollywood Manifesto Haiti 2008
320
Womans Place in Photoplay Production USA 1914
328
Statement USA 1969
346

Kuchar 8mm Film Manifesto USA 1964
69
Commonplace Notes
78
Elements of the Void Greece 1972
86
Lets Set
100
NATIONAL AND TRANSNATIONAL CINEMAS
109
French Cinema Is Over France 1952
123
A Certain Tendency in French Cinema France 1954
133
Salamanca Manifesto Conclusions of the Congress
144
The Oberhausen Manifesto West Germany 1962
152
How to Not Make a Canadian Film Canada 1967
161
What Is to Be Done? France 1970
169
Denmark 1987
174
Pathways to the Establishment of a Nigerian Film Industry
183
Manifesto of 1988 German Democratic Republic
192
Dogme 95 Manifesto and Vow of Chastity Denmark
201
Manifesto of the New Cinema Group Mexico 1961
209
The Aesthetics of Hunger Brazil 1965
218
Film Makers and the Popular Government Political
250
An Internal Category of Third Cinema
256
Another Face of Colonised Québec
264
Millimeters versus 8 Millions Mexico 1972
272
Manifesto for a Nonsexist Cinema Canada 1974
356
Notes of Sex in the Cinema
370
Manifesto of the Women Filmmakers West Germany
376
The Post Porn Modernist Manifesto USA 1989
382
My Porn Manifesto France 2002
390
Barefoot Filmmaking Manifesto UK 2009
396
MILITATING HOLLYWOOD
403
Declaration of the Group of Thirty France 1953
461
1971
469
A ManifestoA Provocation USA
476
STATES DICTATORSHIPS THE COMINTERN AND THEOCRACIES
485
ARCHIVES MUSEUMS FESTIVALS AND CINEMATHEQUES
515
The Film Prayer USA c 1920
523
The Importance of Film Archives UK 1948
529
Brooklyn Babylon Cinema Manifesto USA 1998
555
SOUNDS AND SILENCE
565
THE DIGITAL REVOLUTION
575
AESTHETICS AND THE FUTURES OF THE CINEMA
593
Takahiko Iimura Koichiro Ishizaki et
636
Urheberrecht

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Über den Autor (2014)

Scott MacKenzie is Adjunct Professor of FiIm and Media Studies at QueenÕs University in Ontario. He is co-editor of The Perils of Pedagogy: The Works of John Greyson (2013) and author of Screening QuŽbec: QuŽbŽcois Moving Images, National Identity and the Public Sphere (2004).
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