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Avant-garde films are often dismissed as obscure or disconnected from the realities of social and political history. Jeffrey Skoller challenges this myth, arguing that avant-garde films more accurately display the complex interplay between past events and our experience of the present than conventional documentaries and historical films. Shadows, Specters, Shards examines a group of experimental films, including work by Eleanor Antin, Ernie Gehr, and Jean-Luc Godard, that take up historical events such as the Holocaust, Latin American independence struggles, and urban politics. Identifying a cinema of evocation rather than representation, these films call attention to the unrepresentable aspects of history that profoundly impact the experience of everyday life. Making use of the critical theories of Walter Benjamin and Gilles Deleuze, among others, Skoller analyzes various narrative strategies - allegory, sideshadowing, testimony, and multiple temporalities - that uncover competing perspectives and gaps in historical knowledge often ignored in conventional film. In his discussion of avant-garde film of the 1970s, 1980s, and 1990s, Skoller reveals how a nuanced understanding of the past is inextricably linked to the artistry of image making and storytelling.
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Filmmaker Jeffrey Skoller is associate professor of film, video, and new media at the School of the Art Institute of Chicago. His visual works have been exhibited at the Whitney Museum of American Art, Arsenal Kino (Berlin), Latin American Film Festival (Havana), and National Film Theatre (London), among others, and his essays have appeared in DISCOURSE, New Art Examiner, Afterimage, and Film Quarterly.
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Shadows, Specters, Shards : Making History in Avant-Garde Film
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University of Minnesota Press, 2005
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Shadows, Specters, Shards: Making History in Avant-Garde Film
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Paperback. Zustand: Very Good. Avant-garde films are often dismissed as obscure or disconnected from the realities of social and political history. Jeffrey Skoller challenges this myth, arguing that avant-garde films more accurately display the complex interplay between past events and our experience of the present than conventional documentaries and historical films. Shadows, Specters, Shards examines a group of experimental films, including work by Eleanor Antin, Ernie Gehr, and Jean-Luc Godard, that take up historical events such as the Holocaust, Latin American independence struggles, and urban politics. Identifying a cinema of evocation rather than representation, these films call attention to the unrepresentable aspects of history that profoundly impact the experience of everyday life. Making use of the critical theories of Walter Benjamin and Gilles Deleuze, among others, Skoller analyzes various narrative strategies - allegory, sideshadowing, testimony, and multiple temporalities - that uncover competing perspectives and gaps in historical knowledge often ignored in conventional film. In his discussion of avant-garde film of the 1970s, 1980s, and 1990s, Skoller reveals how a nuanced understanding of the past is inextricably linked to the artistry of image making and storytelling. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. Bestandsnummer des Verkäufers GOR008941036
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Skoller, J: Shadows, Specters, Shards
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Zustand: New. Demonstrates how avant-garde films better reflect the complexity of history than conventional film.KlappentextrnrnAvant-garde films are often dismissed as obscure or disconnected from the realities of social and political history. Jeffrey Sk. Bestandsnummer des Verkäufers 867673662
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Shadows, Specters, Shards
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Shadows, Specters, Shards
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Zustand: New. Num Pages: 264 pages, 41ill. BIC Classification: APFA. Category: (G) General (US: Trade); (P) Professional & Vocational; (U) Tertiary Education (US: College). Dimension: 254 x 178 x 16. Weight in Grams: 481. . 2005. Paperback. . . . . Books ship from the US and Ireland. Bestandsnummer des Verkäufers V9780816642328
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Shadows, Specters, Shards Making History in AvantGarde Film
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