Knights moves

This essay examines how the found footage films of Martin Arnold (Alone: Life Wastes Andy Hardy, 1998) and Peter Tscherkassky (Outer Space, 1999 and Dream Work, 2002) can be read as a belated response to Peter Wollen’s 1970s splitting of the avant-garde. Wollen’s tactical move, his article The Two Avant-gardes (Wollen, 1975 and revised in 1982) marked a historic moment when both critics and artists gained easy access to the film editing-machine for both film analysis and reflexive film production respectively. Wollen’s text asserted differences between a political and formalist avant-garde, opening up a space between structuralist/materialist film and feminist film theory and its counter-cinema. This move enabled Laura Mulvey and other Cine-Feminists to eschew formalism in favor of a political feminist counter–cinema and further, as part of its move into the academy, to develop and enlist Textual Analysis as a tool for uncovering the patriarchal ideologies at the heart of Hollywood melodrama.

2nd hand cinema

Image of scratched frames from 16mm film, reframed and published as stand-alone image

Dierick (Dirk) Bouts (um 1400-1475): "Feier des Passahfestes"

K.

Dirk Scholl, Brustbild

Signatur des Originals: S 36/G03620

A mastodont tooth from Szechwan, China / Dirk A. Hooijer -- and Edwin H. Colbert --.

v.10:no.12(1951)

Mer boghokʻnern u Dashnaktsʻutʻean dirkʻě anontsʻ handēp /

At head of title: Hratarakutʻiwn "Azg"i; tʻiw 5.

Bartholomaeus Bruyn und seine Schule : ein kunsthistorische Studie /

Also presented as the author's thesis (doctoral--Strassburg, 1891)