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Maya Deren (1917-1961) was a Russian-born American filmmaker, theorist, poet, and photographer working at the forefront of the American avant-garde in the 1940s and 1950s. Influenced by Jean Cocteau and Marcel Duchamp, she is best known for her seminal film Meshes of the Afternoon (1943), a dream-like experiment with time and symbol, looped narrative and provocative imagery, setting the stage for the twentieth-century's groundbreaking aesthetic movements and films. Maya Deren assesses both the filmmaker's completed work and her numerous unfinished projects, arguing Deren's overarching aesthetic is founded on principles of incompletion, contingency, and openness. Combining the contrasting approaches of documentary, experimental, and creative film, Deren created a wholly original experience for film audiences that disrupted the subjectivity of cinema, its standards of continuity, and its dubious facility with promoting categories of realism. This critical retrospective reflects on the development of Deren's career and the productive tensions she initiated that continue to energize film.

Deren, Maya --- Criticism and interpretation. --- Motion picture producers and directors --- Producteurs et réalisateurs de cinéma

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The advent of new screening practices and viewing habits in the twenty-first century has spurred a public debate over what it means to be a “cinephile.” In Anxious Cinephilia, Sarah Keller places these competing visions in historical and theoretical perspective, tracing how the love of movies intertwines with anxieties over the content and impermanence of cinematic images.Keller reframes the history of cinephilia from the earliest days of film through the French New Wave and into the streaming era, arguing that love and fear have shaped the cinematic experience from its earliest days. This anxious love for the cinema marks both institutional practices and personal experiences, from the curation of the moviegoing experience to the creation of community and identity through film festivals to posting on social media. Through a detailed analysis of films and film history, Keller examines how changes in cinema practice and spectatorship create anxiety even as they inspire nostalgia. Anxious Cinephilia offers a new theoretical approach to the relationship between spectator and cinema and reimagines the concept of cinephilia to embrace its diverse forms and its uncertain future.

Motion pictures --- film --- filmtheorie --- filmgeschiedenis --- cinefilie --- receptie-esthetica --- twintigste eeuw --- eenentwintigste eeuw --- 791.43 --- Appreciation of motion pictures --- Appreciation --- Psychological aspects --- History --- History and criticism --- Appreciation.

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Although early film buffs may be familiar with Jean Epstein's films, including an adaptation of Edgar Allan Poe's The Fall of the House of Usher, not many Anglophones are acquainted with his poetic and provocative prose. Gathered in this wide-ranging collection are new translations into English of every major theoretical work on film theory Epstein ever published, as well a series of essays by other film makers and scholars of art history, French studies, and film, which provide incisive commentary and essential context for Epstein as both a director and a theoretician. As a result, Jean Epstein: Critical Essays and New Translations provides an expansive account of the artist and the man, from his beginnings as a student of biology and aspiring poet to his late film projects and posthumously published writings. By both connecting Epstein to his era and offering contemporary criticism of his films, the essays in this book demonstrate his ongoing importance in film history and theory. This collection is a timely reexamination of a filmmaker and author who has much to offer modern audiences and readers.

Epstein, Jean, -- 1897-1953 -- Criticism and interpretation. --- Film criticism. --- Film industry. --- Music, Dance, Drama & Film --- Film --- Motion pictures --- Epstein, Jean, --- Criticism and interpretation. --- Individual film directors, film-makers --- film --- Jean Epstein --- Slow motion

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Erstmals in der Geschichte des Schweizer Corpus Vitrearum sind im Band zum Kanton Thurgau auch die Glasmalereien des 19. und frühen 20. Jahrhunderts erfasst. Während die Erforschung der vor 1800 geschaffenen Glasgemälde Erkenntnisse zum Stiftungswesen in einem von den eidgenössischen Orten gemeinsam verwalteten Gebiet bringt, lässt sich anhand der jüngeren Werke der handwerkliche und künstlerische Betrieb zur Zeit des Historismus, des Jugendstils und der Moderne beleuchten. Die Auswertung der Kirchgemeindearchive lieferte detaillierte Einsichten in die Entstehungsgeschichte dieser Glasmalereien. Der vorliegende Textband ergänzt den auf der open access-Plattform des Vitrocentre Romont vitrosearch.ch erschienenen Katalog der rund 1.100 Glasgemälde des 14. bis 21. Jahrhunderts. For the first time in the history of the Swiss Corpus Vitrearum, this volume on the Canton of Thurgau also includes glass paintings from the 19th and 20th centuries. Whereas the study of the pre-1800 glass works provided insights into the traditions of donating stained glass in the Old Swiss Confederacy, a consideration of the more recent glass paintings sheds light on the aesthetic and technological aspects of stained-glass manufacturing during the period of historicism, art nouveau, and modernism. This includes an evaluation of sources from parish archives, yielding information on the origins of these younger stained-glass windows. The text volume complements a catalogue of more than 1,100 glass paintings from the 14th to the 21st century, published on the open-access platform of the Vitrocentre Romont (vitrosearch.ch).

Corpus Vitrearum Medii Aevi. --- Stained glass. --- The arts: general issues --- Art forms