"Austrian avant-garde cinema" bears a resemblance to materialist and visionary aspects of the American avant-garde, while also manifesting a subversive social critique kindred in spirit to European auteur cinema. This ‘third way’, staked out by Austrian filmmakers and revealed by this volume, is a unique brand of anti-traditional tradition.
austrian film avant-garde cinema vienna
Over the past few decades, French filmmaker Olivier Assayas has become a powerful force in contemporary cinema. Between his first feature Désordre (1986) and such major works as L’Eau froide, Irma Vep, Les Destinées Sentimentales, demonlover and, most recently, L’Heure d’été and Carlos, he has charted an exciting path, strongly embracing narrative and character and simultaneously dealing with the ‘fragmentary reality’ of life in a global economy.
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Omer Fast: The Casting
The Casting examines the relationship between images and storytelling to pose the question: ‘where do we seek truth?’
Logbuch 2006/2007: Eine bulgarische Reise
Logbuch 2006/2007: Eine bulgarische Reise ist ein künstlerisches Projekt von Lisl Ponger und Tim Sharp, das sich mit einem Land bzw. einer Region im Umbruch beschäftigt.
Josef von Sternberg: The Case of Lena Smith
In his 1929 Hollywood production The Case of Lena Smith, director Josef von Sternberg vividly brought to life his youthful memories of Vienna at the turn of the last century. Critic Dwight Macdonald called it “the most completely satisfying American film I have seen”. But only a short fragment survives - Lena Smith is one of the legendary lost masterpieces of the American cinema.
film josef sternberg lena smith
James Benning’s films are among the most fascinating works in American cinema. This volume traces Benning’s artistic career as well as his biographical journey through the U.S., from Wisconsin to the East Coast to Southern California.
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For the Russian filmmaker and film theorist Dziga Vertov (1896-1954) KINO was both a bold aesthetic experiment and a document of contemporary life. This book presents the Austrian Film Museum’s comprehensive Vertov Collection for the first time: films, photographs, posters, letters as well as a large number of previously unpublished sketches, drawings and writings by Vertov including his extensive autobiographical "Calling Card” from 1947.
documentary film cinema theory soviet collection
Claire Hooper: Nyx - Aoide - Eris
The film is set in the stations of U-Bahn line 7, designed by Rainer Rümmler between 1971 and 1984, along the route between Neukölln, the Turkish neighbourhood of Berlin – and Spandau.
video art exhibition
Three Films/Three Photographs
In tandem with the exhibition Three Films / Three Photographs (Nassauischer Kunstverein, Wiesbaden, Germany 2011), this publication endeavours to provide a contribution to the discussion of current debates and focuses thematically upon the global, cultural and medial condition of a society that - in the words of Zygmunt Bauman - cannot stand still, but is perpetually modernising.
The Cabinet of Jan Švankmajer
The Czech animation filmmaker Jan Švankmajer (*1934), is one of the internationally most renowned practitioners within the genre. The spectrum of his creative activity ranges from political films to lyrical works and works based on adaptations of literature, and on to lyrical explorations of his filmic material.
Olivier Assayas: A Post-May Adolescene
Olivier Assayas is best known as a filmmaker, but cinema makes only a late appearance in A Post-May Adolescence. This is an account of a personal formation, an initiation into an individual vision of the world; it is, equally, a record of youthful struggle. Assayas’ reflective memoir takes us from the massive cultural upheaval that was May 1968 in France to the mid-1990s when he made his first autobiographical film about his teenage years, L’Eau froide.
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Screen Dynamics: Mapping the Borders of Cinema
From moving images on the Internet to giant IMAX displays: The number of screens in the public and private sphere has increased significantly during the last two decades. While this is often taken to indicate the “death of cinema,” this volume attempts to reconsider the limits and specifics of film and the traditional movie theater.