Visionary film;: The American avant-garde

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Sitney, P. Adams

Movies

Oxford University Press

Visionary Film: The American Avant-Garde

An historical and analytical study of American avant-garde films and the leading filmmakers in this genre

Arts & Photography

History & Criticism

Critics hailed the first edition of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. Now P. Adams Sitney has revised and updated his classic book with a detailed study of major achievements made in the last decade.

Critics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained standard text on American avant-garde film since the publication of its first edition in 1974. Now P. Adams Sitney has once again revised and updated this classic work, restoring a chapter on the films of Gregory J. Markopoulos and bringing his discussion of the principle genres and major filmmakers up to the year 2000.

Visionary Film: The American Avant-Garde, 1943-2000

Critics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained the standard text on American avant-garde film since the publication of its first edition in 1974. Now P. Adams Sitney has once again revised and updated this classic work, restoring a chapter on the films of Gregory J. Markopoulos and bringing his discussion of the principal genres and major filmmakers up to the year 2000.

Visionary Film: The American Avant-Garde, 1943-2000, 3rd Edition

Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson

Sitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage, Charles Olson and Gertrude Stein. The films discussed span the sixty years since the Second World War. With three chapters each devoted to Stan Brakhage and Robert Beavers, two each to Hollis Frampton and Jonas Mekas, and single chapters on Marie Menken, Ian Hugo, Andrew Noren, Warren Sonbert, Su Friedrich, Ernie Gehr, and Abigail Child, Eyes Upside Down is the fruit of Sitney's lifelong study of visionary aspirations in the American avant-garde cinema.

Sitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage, Charles Olson and Gertrude Stein. The films discussed span the sixty years since the Second World War. With three chapters each devoted to Stan Brakhage and Robert Beavers, two each to Hollis Frampton and Jonas Mekas, and single chapters on Marie Menken, Ian Hugo, Andrew Noren, Warren Sonbert, Su Friedrich, Ernie Gehr, and Abigail Child, Eyes Upside Down is the fruit of Sitney's lifelong study of visionary aspirations in the American avant-garde cinema.

The Cinema of Poetry

Informed by the criticism of iconic filmmaker Pier Pasolini, The Cinema of Poetry offers spirited explorations of poetry's influence on classic films by Dimitri Kirsanoff, Ingmar Bergman, and Andrey Tarkovsky. It also highlights how avant-garde films made by Joseph Cornell, Lawrence Jordan, Jerome Hiler, Gregory Markopoulos, and others found rich, unexpected sources of inspiration in a diverse group of poets that includes Stéphane Mallarmé, Emily Dickinson, H.D., Ezra Pound, Robert Duncan, John Ashbery, and Aeschylus. Written with verve and panache, it represents the culmination of P. Adams Sitney's career-long fascination with the intersection of poetry, film, and the avant-garde.

Examining the landmark works that ushered in Italy's golden age of cinema, P. Adams Sitney provides a stylish, historically rich survey of the epochal films made by Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Federico Fellini, Michelangelo Antonioni, and others in the years after World War Ii. Remarking on the period in 1957, Pier Paolo Pasolini wrote that its films reflected a "vital crisis" in Italian culture after the fall of Fascism. Sitney expands this conceit to demonstrate the multivalent social and political forces behind a range of movies made from the mid-1940s through the1960s that includes Paisa, La terra trema, Ladri di biciclette, L'Avventura, and La dolce vita. Throughout its pages, the book considers how the nation's cinema depicts the convergence of Christian and Resistance iconography; contemplates the debate over dialect and a national language; deploys cinematic effects for the purposes of political allegory; and incorporates insights from the psychoanalytic discourse that became popular in Italy during the fifties and sixties. This new edition includes an epilogue that extends the range of the study into the 1970s with discussions of Nanni Moretti's Io sono autaurchico, the Tavianis' Padre Padrone, and Ermanno Olmi's L'albero degli zoccoli.

Vital Crises in Italian Cinema: Iconography, Stylistics, Politics

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Books by Sitney, P. Adams

See the best price to sell, buy, or rent books by Sitney, P. Adams. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Visionary film;: The American avant-garde

Visionary Film: The American Avant-Garde

Visionary Film: The American Avant-Garde

Visionary Film: The American Avant-Garde, 1943-2000

Visionary Film: The American Avant-Garde, 1943-2000, 3rd Edition

Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson

Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson

The Cinema of Poetry

The Cinema of Poetry

Vital Crises in Italian Cinema: Iconography, Stylistics, Politics