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Keyword : Avant Garde


An analysis of French cult vampire maestro Jean Rollin's elegiac Two Orphan Vampires, a film which invokes both Rollin's previous works and the avant-garde tradition which influenced him.


An interview with the indie masters of camp aesthetics and underground trash (in the best term), the Kuchar bros.


A 10th Anniversary look back to the summer of 1997.


In this survey some of Offscreen's regular contributors speak their mind on cinema of the last ten years. Offscreen would like to thank the valuable contribution of its many writers. To note the obvious, Offscreen would not be where it is today if not for them.


An overview of Richard Kerr's multimedia installation, Industrie/Industry.


Analysis of Canadian filmmaker Phil Hoffman's poetic treatment of autobiography and aesthetics in Passing Through/Torn Formations.


Review of the recent Criterion DVD that spans Brakhage's lifework.


Part two of Hendriks' close textual analysis of Friedrich's personal odyssey.


Part one of Hendriks' close textual analysis of Friedrich's personal odyssey.


By Brett Kashmere and Astria Suparak following the Stan Brakhage Benefit Concert featuring Sonic Youth, Anthology Film Archives, NYC April 12, 2003.


Professor Peter Rist reminisces on “Stan the Man”.


Stemming from his ongoing graduate work, first-time Offscreen writer Brett Kashmere delves headlong into the fascinating intersection of Brakhage and the cultural expression of the Post-World War II American avant-garde.


Anyone who has heard Stan Brakhage lecture will probably be familiar with his now famous artistic credo, his “400 year plan”. Offscreen editor Donato Totaro provides a brief glimpse into the mountain of a man that was Stan Brakhage.


Drawing on the wide-ranging theories of Michel Chion (Audio-Vision: Sound on Screen), William C. Wees (Light Moving in Time), Sergei Eisenstein (Nonindifferent Nature), Peter Kivy (Music Alone: Philosophical Reflections on the Purely Musical Experience), and Tom Gunning, Jordan explores how Brakhage's films and theory ask us to 're-learn' the fundamental principles of how we interect with the world around us.


Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”


Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”


While lamenting the FCMM's decision to eliminate live performances (at least for this year), Randolph Jordan points to the short film as the one area where the FCMM continues its cutting edge, innovative programming.


In a perfect world Peter Mettler would be a household name. Unfortunately it isn't. Stefik takes you on a journey with one of Canada's lesser known gems, filmmaker Peter Mettler


Stefik tries to define the particular and unique qualities that make up the Peter Mettler film experience. Although largely a review of Mettler's latest films, “Gambling, Gods and LSD”, Stefik also touches on some of Mettler's earlier works.


The films of Michael Snow require a certain intellectual disposition. To be fully understood and appreciated they should be placed within the context of art history, and more specifically modernism, where each medium’s intrinsic value is maintained. But aren’t such pretensions to a medium’s purity merely utopian, or in the least fragmentary or incomplet

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ISSN 1712-9559.