A History of Experimental Film and Video
A History of Experimental Film and Video
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实验电影和录像的历史
DOI：
10.5040/9781838710637
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发表时间：
1999
期刊：
影响因子：
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通讯作者：
A. Rees
中科院分区：
文献类型：
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作者：
A. Rees
本书为新读者简要介绍了一场复杂的运动，并附有许多电影和其他作品的具体例子。它还讨论了艺术家电影的理论化，位于画廊和电影院之间，以及对当代数字和装置媒体的影响。它有助于当前关于先锋派和艺术家电影的作用，现代主义的遗产和构建其历史的问题的辩论。
这本书最初是由BFI/Palgrave在1999年委托，并已大幅修订和重置-与综合插图-这第二版。新的导言和最后一章（7,000字）讨论了过去十年，并提供了广泛的新注释（2,000字）和其他文本更改以更新内容。文本使访问历史研究的主线，并提出了许多具体的问题（例如日期，趋势，技术流程，组织），这是详细探讨了广泛的参考书目。就像这本书的第一版一样，它经历了八个版本，这个修订后的帐户被广泛用于BA和MA电影课程，并在美国销售特别好。该报告已被翻译成日文（2011年）和韩文（2012年）;中文和土耳其文版本正在编写中。
本书面向广大的非专业读者群，其结构大致呈线性，分为简短的、有标题的部分而不是章节，以引出实验电影的各种想法、主题和技术。在将电影和视频定位为艺术运动的同时，里斯还描述了它们与商业电影的许多联系和分歧，以及它们与广告、音乐视频、电视、动画和电子媒体的交叉。里斯探讨了20世纪20年代的第一部达达主义、超现实主义和建构主义电影，二战后国际上独立先锋派的诞生，并介绍了英国艺术家的电影和视频。
This book gives a concise account of a complex movement for the new reader, with many specific examples of films and other works. It also discusses the theorisation of artists’ film, located between the gallery and the cinema, and the consequences for contemporary digital and installation media. It contributes to current debates on the role of avant-gardes and artists’ cinema, the legacies of modernism and the problems of constructing its history.
The book was originally commissioned by BFI/Palgrave in 1999, and has been substantially revised and reset – with integrated illustrations – for this second edition. A new introduction and final chapter (7,000 words) discuss the last decade, and extensive new notes (2,000 words) and other textual changes are provided to update the contents. The text makes accessible the main lines of historical research and presents many specific issues (e.g. dates, tendencies, technical processes, organisations), which are explored in detail with extensive bibliographies. Like the first edition of the book, which went through eight editions, this revised account is used widely in BA and MA film courses, and has sold especially well in the USA. It has been translated into Japanese (2011) and Korean (2012); Chinese and Turkish versions are being prepared.
This book is aimed at a wide non-specialist readership and has a broadly linear structure divided into short, headed sections rather than chapters, to draw out the diverse ideas, themes and technologies of experimental film. While locating film and video as art movements, Rees also describes their many links to – and divergences from – commercial cinema, alongside their intersections with advertising, music videos, TV, motion graphics and electronic media. Rees explores the first dada, surrealist and constructivist films in the 1920s, the birth of independent avant-gardes internationally after WW2, and provides an account of artists’ film and video in the UK.