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Call No: 408.1 CIN
Author: Hjort, Mette; MacKenzie, Scott, 1967
Place: London New York
Publisher: Routledge
PubDate: 2000
PhysDes: xvi, 332 p., ill., 25 cm
Subject: NATIONAL IDENTITY AND THE CINEMA; COPRODUCTION. EUROPEAN COUNTRIES; UNITED KINGDOM : SCOTLAND; INDONESIA; POLAND; TURKEY; INDIA; GERMANY; STATE AND THE CINEMA; CAPRA, FRANK
Summary: Leading film scholars, philosophers and sociologists consider the ways in which film production and reception are shaped by ideas of national identity and belonging. The contributors discuss a wide range of cinemas, in Europe, Asia and the Americas, exploring the relationship between nation states for both the concept and the reality of national cinema. In the book’s first three sections, contributors explore sociological approaches to national identity, challenge established ideas about ‘national cinema’, and consider the ways in which national states – from the former Soviet Union to Contemporary Scotland – use cinema in their efforts to create a national cinema, and consider how images of the nation are understood by audiences both at home and abroad. Taken from back cover.
Notes: Includes bibliographical references and index
ISBN: 0415208629 (alk. paper); 0415208637 (pbk. : alk. paper); 0415208629; 0415208637(pbk.) : ¦14.99; 0415208629(cased) : No price; 0415208637(pbk.) : No price
LON: 21459338

Call No: 62 FIL
Author: MacKenzie, Scott (ed.)
Source: US
Place: Berkeley London
Publisher: University of California Press
PubDate: 2014
PhysDes: xxi, 651 p. ; 26 cm
Subject: AVANT-GARDE FILMS; CONSTRUCTIVISM; SURREALISM AND THE CINEMA; STRUCTURALISM; NOUVELLE VAGUE; IMPERIALISM AND THE CINEMA; GENDER AND THE CINEMA; FEMINISM AND THE CINEMA; PORNOGRAPHY AND THE CINEMA; DOCUMENTARY FILMS; DOCUMENTARIES; PHILOSOPHY AND THE CINEMA; WORLD CINEMA; LATIN AMERICAN COUNTRIES; AESTHETICS; ARCHIVES & INSTITUTES, FILM
Summary: Film Manifestoes 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 “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, 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. -- extract taken from the back of the book
Notes: Includes index -- Includes bibliographical references and index.
ISSN: 9780520276741
Contents: Introduction. “An Invention without a Future” -- 1. The Avant-Garde(s) -- The Futurist Cinema (Italy, 1916) F.T. Marinetti, Bruno Corra, et al. -- Lenin Decree (USSR, 1919) Vladimir Ilyich Lenin -- The ABCs of Cinema (France, 1917–1921) Blaise Cendrars -- WE: Variant of a Manifesto (USSR, 1922) Dziga Vertov -- The Method of Making Workers’ Films (USSR, 1925) Sergei Eisenstein -- Constructivism in the Cinema (USSR, 1928) Alexei Gan -- Preface: Un chien Andalou (France, 1928) Luis Buñuel -- Manifesto of the Surrealists Concerning L’Age d’or (France, 193) The Surrealist Group -- Manifesto on “Que Viva Mexico” (USA, 1933) The Editors of Experimental Film -- Spirit of Truth (France, 1933) Le Corbusier -- An Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934) László Moholy-Nagy -- Light*Form*Movement*Sound (USA, 1935) Mary Ellen Bute -- Prolegomena for All Future Cinema (France, 1952) Guy Debord -- No More Flat Feet! (France, 1952) Lettriste International -- The Lettristes Disavow the Insulters of Chaplin (France, 1952) Jean-Isidore Isou, Maurice Lemaître, and Gabriel Pomerand -- The Only Dynamic Art (USA, 1953) Jim Davis -- A Statement of Principles (USA, 1961) Maya Deren -- The First Statement of the New American Cinema Group (USA, 1961) New American Cinema Group -- Foundation for the Invention and Creation of Absurd Movies (USA, 1962) Ron Rice -- From Metaphors on Vision (USA, 1963) Stan Brakhage -- Kuchar 8mm Film Manifesto (USA, 1964) George Kuchar -- Film Andepandan [Independents] Manifesto (Japan, 1964) Takahiko Iimura, Koichiro Ishizaki, et al. -- Discontinuous Films (Canada, 1967) Keewatin Dewdney -- Hand-Made Films Manifesto (Australia, 1968) Ubu Films, Thoms -- Cinema Manifesto (Australia, 1971) Arthur Cantrill and Corinne Cantrill -- For a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971) Hollis Frampton -- Elements of the Void (Greece, 1972) Gregory Markopoulos -- Small Gauge Manifesto (USA, 1980) JoAnn Elam and Chuck Kleinhans -- Cinema of Transgression Manifesto (USA, 1985) Nick Zedd -- Modern, All Too Modern (USA, 1988) Keith Sanborn -- Open Letter to the Experimental Film Congress: Let’s Set the Record Straight (Canada, 1989) Peggy Ahwesh, Caroline Avery, et al. -- Anti-1 Years of Cinema Manifesto (USA, 1996) Jonas Mekas -- The Decalogue (Czech Republic, 1999) Jan Švankmajer -- Your Film Farm Manifesto on Process Cinema (Canada, 212) Philip Hoffman -- 2. National and Transnational Cinemas -- From “The Glass Eye” (Italy, 1933) Leo Longanesi -- The Archers’ Manifesto (UK, 1942) Michael Powell and Emeric Pressburger -- What Is Wrong with Indian Films? (India, 1948) Satyajit Ray -- Buñuel the Poet (Mexico, 1951) Octavio Paz -- French Cinema Is Over (France, 1952) Serge Berna, Guy Debord, et al. -- Some Ideas on the Cinema (Italy, 1953) Cesare Zavattini -- A Certain Tendency in French Cinema (France, 1954) François Truffaut -- Salamanca Manifesto & Conclusions of the Congress of Salamanca (Spain, 1955) Juan Antonio Bardem -- Free Cinema Manifestos (UK, 1956–1959) Committee for Free Cinema -- The Oberhausen Manifesto (West Germany, 1962) Alexander Kluge, Edgar Reitz, et al. -- Untitled [Oberhausen 1965] (West Germany, 1965) Jean-Marie Straub, Rodolf Thome, Dirk Alvermann, et al. -- The Mannheim Declaration (West Germany, 1967) Joseph von Sternberg, Alexander Kluge, et al. -- Sitges Manifesto (Spain, 1967) Manuel Revuelta, Antonio Artero, Joachin Jordà, and Julián Marcos -- How to Make a Canadian Film (Canada, 1967) Guy Glover -- How to Not Make a Canadian Film (Canada, 1967) Claude Jutra -- From “The Estates General of the French Cinema, May 1968” (France, 1968) Thierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz -- Manifesto of the New Cinema Movement (India, 1968) Arun Kaul and Mrinal Sen -- What Is to Be Done? (France, 1970) Jean-Luc Godard -- The Winnipeg Manifesto (Canada, 1974) Denys Arcand, Colin Low, Don Shebib, et al. -- Hamburg Declaration of German Filmmakers (West Germany, 1979) Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, et al. -- Manifesto I (Denmark, 1984) Lars von Trier -- Manifesto II (Denmark, 1987) Lars von Trier -- Manifesto III: I Confess! (Denmark, 199) Lars von Trier -- The Cinema We Need (Canada, 1985) R. Bruce Elder -- Pathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985) Ola Balogun -- Manifesto of 1988 (German Democratic Republic, 1988) Young DEFA Filmmakers -- In Praise of a Poor Cinema (Scotland, 1993) Colin McArthur -- Dogme ’95 Manifesto and Vow of Chastity (Denmark, 1995) Lars von Trier and Thomas Vinterberg -- I Sinema Manifesto (Indonesia, 1999) Dimas Djayadinigrat, Enison Sinaro, et al. -- 3. Third Cinemas, Colonialism, Decolonization, and Postcolonialism -- Manifesto of the New Cinema Group (Mexico, 1961) El grupo nuevo cine -- Cinema and Underdevelopment (Argentina, 1962) Fernando Birri -- The Aesthetics of Hunger (Brazil, 1965) Glauber Rocha -- For an Imperfect Cinema (Cuba, 1969) -- Julio García Espinosa Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969) Fernando Solanas and Octavio Getino -- Film Makers and the Popular Government Political Manifesto (Chile, 1970) Comité de cine de la unidad popular -- Consciousness of a Need (Uruguay, 1970) Mario Handler -- Militant Cinema: An Internal Category of Third Cinema (Argentina, 1971) Octavio Getino and Fernando Solanas -- For Colombia 1971: Militancy and Cinema (Colombia, 1971) Carlos Alvarez -- The Cinema: Another Face of Colonised Québec (Canada, 1971) Association professionnelle des cinéastes du Québec -- 8 Millimeters versus 8 Millions (Mexico, 1972) Jaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, et al. -- Manifesto of the Palestinian Cinema Group (Palestine, 1973) Palestinian Cinema Group -- Resolutions of the Third World Filmmakers Meeting (Algeria, 1973) Fernando Birri, Ousmane Sembene, Jorge Silva, et al. -- The Luz e Ação Manifesto (Brazil, 1973) Carlos Diegues, Glauber Rocha, et al. -- Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976) Jorge Sanjinés -- Manifesto of the National Front of Cinematographers (Mexico, 1975) Paul Leduc, Jorge Fons, et al. -- The Algiers Charter on African Cinema (Algeria, 1975) FEPACI (Fédération panafricaine des cinéastes) -- Declaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979) Nicaraguan Institute of Cinema -- What Is the Cinema for Us? (Mauritania, 1979) Med Hondo -- Niamey Manifesto of African Filmmakers (Niger, 1982) FEPACI (Fédération panafricaine des cinéastes) -- Black Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983) John Akomfrah -- From Birth Certificate of the International School of Cinema and Television in San Antonio de Los Baños, Cuba, Nicknamed the School of Three Worlds (Cuba, 1986) Fernando Birri -- FeCAViP Manifesto (France, 1990) Federation of Caribbean Audiovisual Professionals -- Final Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 1990) SADCC (South African Development Coordination Conference) -- Pocha Manifesto #1 (USA, 1994) Sandra Peña-Sarmiento -- Poor Cinema Manifesto (Cuba, 24) Humberto Solás -- Jollywood Manifesto (Haiti, 28) Ciné Institute -- The Toronto Declaration: No Celebration of Occupation (Canada, 29) John Greyson, Naomi Klein, et al. -- 4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos -- Woman’s Place in Photoplay Production (USA, 1914) Alice Guy-Blaché -- Hands Off Love (France, 1927) Maxime Alexandre, Louis Aragon, et al. -- The Perfect Filmic Appositeness of Maria Montez (USA, 1962) Jack Smith -- On Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967) Yoko Ono -- Statement (USA, 1969) Kenneth Anger -- Wet Dream Film Festival Manifesto (The Netherlands, 1970) S.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity) -- Women’s Cinema as Counter-Cinema (UK, 1973) Claire Johnston -- Manifesto for a Non-sexist Cinema (Canada, 1974) FECIP (Fédération européenne du cinéma progressiste) -- Womanifesto (USA, 1975) Feminists in the Media -- Visual Pleasure and Narrative Cinema (UK, 1975) Laura Mulvey -- An Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977) Vilgot Sjöman -- For the Self-Expression of the Arab Woman (France, 1978) Heiny Srour, Salma Baccar, and Magda Wassef -- Manifesto of the Women Filmmakers (West Germany, 1979) Verband der Filmarbeiterinnen -- Wimmin’s Fire Brigade Communiqué (Canada, 1982) Wimmin’s Fire Brigade -- Thoughts on Women’s Cinema: Eating Words, Voicing Struggles (USA, 1986) Yvonne Rainer -- The Post Porn Modernist Manifesto (USA, 1989) Annie Sprinkle, Veronica Vera, et al. -- Statement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991) FEPACI (Fédération panafricaine des cinéastes) -- Puzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998) Vibeke Windeløv, Lene Børglum, et al. -- Cinema with Tits (Spain, 1998) Icíar Bollaín -- My Porn Manifesto (France, 22) Ovidie -- No More Mr. Nice Gay: A Manifesto (USA, 29) Todd Verow -- Barefoot Filmmaking Manifesto (UK, 29) Sally Potter -- Dirty Diaries Manifesto (Sweden, 29) Mia Engberg -- 5. Militating Hollywood -- Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 193) Motion Picture Producers and Distributors of America -- Red Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935) William Randolph Hearst -- Statement of Principles (USA, 1944) Motion Picture Alliance for the Preservation of American Ideals -- Screen Guide for Americans (USA, 1947) Ayn Rand -- White Elephant Art vs. Termite Art (USA, 1962) Manny Farber -- Super Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972) Kuumba Workshop -- The World Is Changing: Some Thoughts on Our Business (USA, 1991) Jeffrey Katzenberg -- Full Frontal Manifesto (USA, 21) Steven Soderbergh -- 6. The Creative Treatment of Actuality-- Towards a Social Cinema (France, 1930) Jean Vigo -- From “First Principles of Documentary” (UK, 1932) John Grierson -- Manifesto on the Documentary Film (UK, 1933) Oswell Blakeston -- Declaration of the Group of Thirty (France, 1953) Jean Painlevé, Jacques-Yves Cousteau, Alain Resnais, et al. -- Initial Statement of the Newsreel (USA, 1967) New York Newsreel -- Nowsreel, or the Potentialities of a Political Cinema (USA, 1970) Robert Kramer, New York Newsreel -- Documentary Filmmakers Make Their Case (Poland, 1971) Bohdan Kosinski, Krzysztof Kieslowski, and Tomasz Zygadlo -- The Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989) Kidlat Tahimik, Stephen Teo, et al. -- Minnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999) Werner Herzog -- Defocus Manifesto (Denmark, 2) Lars von Trier -- Kill the Documentary as We Know It (USA, 22) Jill Godmilow -- Ethnographic Cinema (EC): A Manifesto{ths}/{ths}A Provocation (USA, 23) Jay Ruby -- Reality Cinema Manifesto (Russia, 25) Vitaly Manskiy -- Documentary Manifesto (USA, 28) Albert Maysles -- China Independent Film Festival Manifesto: Shamans * Animals (People’s Republic of China, 211) By several documentary filmmakers who participated and also who did not participate in the festival -- 7. States, Dictatorships, the Comintern, and Theocracies -- Capture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925) Willi Münzenberg -- The Legion of Decency Pledge (USA, 1938) Archbishop John McNicholas -- Creative Film (Germany, 1935) Joseph Goebbels -- Vigilanti Cura: On Motion Pictures (Vatican City, 1936) Pope Pius XI -- Four Cardinal Points of A Revolução de Maio (Portugal, 1937) António Lopes Ribeiro -- From On the Art of Cinema (North Korea, 1973) Kim Jong-il -- 8. Archives, Museums, Festivals, and Cinematheques -- A New Source of History: The Creation of a Depository for Historical Cinematography (Poland/France, 1898) Boleslaw Matuszewski -- The Film Prayer (USA, c. 192) A. P. Hollis -- The Film Society (UK, 1925) Iris Barry -- Filmliga Manifesto (The Netherlands, 1927) Joris Ivens, Henrik Scholte, Men’no Ter Bbaak, et al. -- Statement of Purposes (USA, 1948) Amos Vogel, Cinema 16 -- The Importance of Film Archives (UK, 1948) Ernest Lindgren -- A Plea for a Canadian Film Archive (Canada, 1949) Hye Bossin -- Open Letter to Film-Makers of the World (USA, 1966) Jonas Mekas -- A Declaration from the Committee for the Defense of La Cinémathèque française (France, 1968) Committee for the Defense of La Cinémathèque française -- Filmmakers versus the Museum of Modern Art (USA, 1969) Hollis Frampton, Ken Jacobs, and Michael Snow -- Anthology Film Archives Manifesto (USA, 1970) P. Adams Sitney -- Toward an Ethnographic Film Archive (USA, 1971) Alan Lomax -- Brooklyn Babylon Cinema Manifesto (USA, 1998) Scott Miller Berry and Stephen Kent Jusick -- Don’t Throw Film Away: The FIAF 7th Anniversary Manifesto (France, 28) Hisashi Okajima and La fédération internationale des archives du film Manifesto Working Group -- The Lindgren Manifesto: The Film Curator of the Future (Italy, 21) Paolo Cherchi Usai -- Film Festival Form: A Manifesto (UK, 212) Mark Cousins -- 9. Sounds and Silence -- A Statement on Sound (USSR, 1928) Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov -- A Rejection of the Talkies (USA, 1931) Charlie Chaplin -- A Dialogue on Sound: A Manifesto (UK, 1934) Basil Wright and B. Vivian Braun -- Amalfi Manifesto (Italy, 1967) Michelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, et al. -- 10. The Digital Revolution -- Culture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966) Stan VanDerBeek -- The Digital Revolution and the Future Cinema (Iran, 2) Samira Makhmalbaf -- The Pluginmanifesto (UK, 21) Ana Kronschnabl -- Digital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 23) Khavn de la Cruz -- 11. Aesthetics and the Futures of the Cinema -- The Birth of the Sixth Art (France, 1911) Ricciotto Canudo -- Memo from Walt Disney to Don Graham (USA, 1935) Walt Disney -- The Birth of a New Avant Garde: La caméra-stylo (France, 1948) Alexandre Astruc -- From Preface to Film (UK, 1954) Raymond Williams -- The Snakeskin (Sweden, 1965) Ingmar Bergman -- Manifesto (Italy, 1965) Roberto Rossellini, Bernardo Bertolucci, Tinto Brass, et al. -- Manifesto on the Release of La Chinoise (France, 1967) Jean-Luc Godard -- Direct Action Cinema Manifesto (USA, 1985) Rob Nilsson -- Remodernist Film Manifesto (USA, 28) Jesse Richards -- The Age of Amateur Cinema Will Return (People’s Republic of China, 21) Jia Zhangke --

Call No: 751 MAP
Author: Iversen, Gunnar; MacKenzie, Scott
Edition: 2021
Place: Edinburgh
Publisher: Edinburgh University Press
PhysDes: 3587 pages : illustrated ; 24 cm
Series: Traditions in world cinema
Subject: ROCK FILMS; DOCUMENTARIES; MONTEREY POP (US, D. A. Pennebaker, 1968); ROLLING STONES; MADONNA; DIXIE CHICKS: SHUT UP AND SING (US, Barbara Kopple & Cecilia Peck, 2006); DYLAN, BOB; U2 RATTLE AND HUM (US, Phil Joanou, 1988); RUDE BOY (UK, David Mingay, 1980); LONG STRANGE TRIP (US, Amir Bar-Lev, 2017); CAVE, NICK; MC5 - A TRUE TESTIMONIAL (US, David C Thomas, 2002)
Summary: Mapping the Rockumentary: Images of Sound and Fury is the first anthology to explore the rockumentary as a central component of both the documentary and world cinema. The book includes case studies of bands and performers such as The Beatles, The Rolling Stones, Bob Dylan, The Clash, Madonna and Metallica and performers from Asia, Europe and the Americas, making the case for rockumentaries as part of an established and ever-evolving cinematic tradition. With an international and transdisciplinary approach, and addressing rocumentaries in film, television and on the internet, the book explores the form’s rich history from the 1950s to the present day – and beyond. -- publisher's web site
ISBN: 9781474478021
Contents: Notes on Contributors -- Introduction: Images of Sound and Fury / Gunnar Iversen and Scott MacKenzie. Part One: Histories -- Music Makers of the Blue Ridge / Greil Marcus -- ‘I Don’t Make Culture, I Sell It!’: The Early History of Music Documentation, 1920s-1970s / Laura Niebling -- Monterey Pop and the Maturation of the Concert Film / Laurel Westrup -- The Sound of Rockumentary: A Consideration of the Documentary Soundtrack / Michael Baker -- False Endings / Scott MacKenzie. Part Two: Gender -- ‘Start Me Up’: The Place and Displacement of Women in the Cinema of Rolling Stones / Catherine Strong and Stephen Gaunson -- Madonna on Film: Geopolitics, Globalization, and Gender Politics / Anna Westerstahl Stenport -- The Freedom to Speak: The Dixie Chicks, Observational Documentary, and Shut Up & Sing / Heather McIntosh -- Rock ‘n’ Roll Family Romances: Rockumentary as Male Melodrama / Gunnar Iversen -- Performing Dylan: The Many Lives of Bob Dylan in I’m Not There / Magdalena Fu¨rnkranz. Part Three: Aesthetics and Politics -- U2’s Rattle and Hum: God, Sex, Rock and Roll and God Again / Karine Bertrand -- Punk City Symphony: The Clash and Rude Boy / Celine Bell -- Listening from the Empty Booth: Performing the Grateful Dead Community in Long Strange Trip / Randolph Jordan -- Minimum and Maximum Rock ‘n’ Roll: Nick Cave & the Bad Seeds, and Rockumentary Form / Anthony Kinik -- ‘Everything Was Stories’: The Aesthetic Imaginaries of Searching for the Wrong-Eyed Jesus / Asbjørn Grønstad and Øyvind Vågnes. Part Four: Counter-Cultures -- Chile: The Rock of Political Culture and the Hard Place of Cultural Policy / Jorge Saavedra Utman and Toby Miller -- Psychedelia and Rebelliousness in Times of Dictatorship: Argentinian Rockumentaries (1973-1983) / Javier Campo and Tomás Crowder-Taraborrelli -- Harmonium in California: Musically Imagined Communities and the Rockumentary Form / Eric Fillion -- Stations of the Crass: Counter-Culture and the Anarcho-Punk Movement / Asbjørn Tiller -- Cars and Guitars, or, Detroit and the MC5: On Representations of Music and Place in MC5: A True Testimonial / Lindsey Eckenroth. Part Five: Futures -- Unknowable Dogs / Gary Kibbins -- ‘This is a F**king Business’: The Concert Tour in the 1970s Fiction Film / Julie Lobalzo Wright -- Live from the Cineplex: The Concert Film as Event Cinema since the 2000s / Ian Robinson -- Documenting Deities: Touch and K-pop Fandom on YouTube / Eric Chalfant and Ali Na -- Ritual in Transfigured Time / Greil Marcus.

Call No: 771 PUR
Author: Hjort, Mette; Mackenzie, Scott
Source: UK
Place: London
Publisher: British Film Institute
PubDate: 2003
PhysDes: xii, 237 p. : ill. ; 24 cm
Subject: AVANT-GARDE FILMS; EXPERIMENTAL FILMS; INDEPENDENT FILMMAKERS; MOTION PICTURES - HISTORY
Notes: Includes bibliographical references, filmography and index
ISBN: 0851709524
Donation: Donated by Senses Of Cinema, 2009
Contents: Part one -- Dogma 95: a small nation's response to globalisation: Mette Hjort -- Manifest Destinies: Dogma 95 and the Future of the film manifesto: Scott MacKenzie -- Kill your darlings: Lars von Trier and the origin of Dogma 95: Peter Schepelern -- Dogma 95 and the new Danish cinema: Ib Bondebjerg -- Part two -- Naked film: Dogma and its limits: Berys Gaut -- Artisitc self-reflexivity in the king is alive and strass: Paisley Livingston -- Lars von Trier: Sentimental Surrealist: Murray Smith -- Dogma in Paris: Jean-Marc Barr's Lovers: Ginette Vincendeau Part three -- The globalisation of dogma: the dynamics of metaculture and counter-publicity: Mette Hjort -- Decoding D-day: multi-channel television at the millenium: Martin Roberts -- Dogma dance: Sally Banes and Noel Carroll --Documentary gets the dogma treatment: Claus Christensen -- Dogma and marketing: the state of film marketing in Europe and the achievements of the first dogma films: Mads Egmont Christensen Part four -- Appendix 1: Dogma 95 manifesto and its progeny: compiled by Mette Hjort and Scott Mackenzie -- Appendix 2: Dogma filmography: Complied by Emma Bell -- Appendix 3: Dogma related films: Compiled by Mette Hjort and Scott Mackenzie