[Frameworks] new book, AVANT-DOC

[Beebe, Roger W.]

It’s out, despite what the release date said when I ordered it.  I was actually reading my copy last night.  It plugs perfectly into my current grad seminar (Strategies of the Real), so I’m trying to find a slot to plug it in before the semester’s end!

FYI,
R.

On Nov 10, 2014, at 7:49 AM, Brecht Debackere <brecht at visualantics.net<mailto:brecht at visualantics.net>> wrote:

Hey Scott,

Looks interesting. Any news on the release date?

best,

Brecht Debackere


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On 07 Nov 2014, at 17:19, Luiz Garcia <lzgarcia at gmail.com<mailto:lzgarcia at gmail.com>> wrote:

Thank you M. MacDonald!

Will surely contribute greatly to my research and others.

Best,

Luiz Garcia

2014-11-07 17:05 GMT+01:00 Scott MacDonald <smacdona at hamilton.edu<mailto:smacdona at hamilton.edu>>:
PS Oops, I meant to say Oxford University Press.

Sorry!

On Fri, Nov 7, 2014 at 8:01 AM, Scott MacDonald <smacdona at hamilton.edu<mailto:smacdona at hamilton.edu>> wrote:
Dear Frameworkers,

Here is the Press's description of my new book, AVANT-DOC: Intersections of Documentary and Avant-Garde Cinema. The book may be of interest for some of you:

Avant-Doc: 23 in-depth interviews exploring the intersections between documentary and avant-garde filmmaking. Scott MacDonald reviews early overlaps between what have seemed two distinct traditions, then talks with seminal figures in the evolution of ethnographic film (Robert Gardner and Lucien Castaing-Taylor,  founder of Harvard’s Sensory Ethnography Lab, avant-doc’s most productive studio) and personal documentary (Ed Pincus, Alfred Guzzetti, Ross McElwee, Nina Davenport, Jonathan Caouette) and with crucial contributors to the modern European “avant-doc”: Dutch-Indonesian Leonard Retel Helmrich, Austrian Michael Glawogger, and Portuguese Susana de Sousa Dias. Paweł Wojtasik discusses how a mystical experience freed him from depression so that he could realize a cinematic form of perceptual transcendence; and Todd Haynes discusses his early faux documentary, Superstar: the Karen Carpenter Story and how his early experiences with avant-garde filmmakers and experimental documentaries paved the way for the commercial anti-biopic I’m Not There.
            MacDonald’s interviews with filmmakers who have been working for decades create a context for a panorama of discussions about recent breakthroughs, including Jane Gillooly’s Suitcase of Love and Shame, Amie Siegel’s DDR/DDR, Alexander Olch’s The Windmill Movie, Betzy Bromberg’s Voluptuous Sleep, Godfrey Reggio’s Visitors, Castaing-Taylor and Véréna Paravel’s Leviathan, Jennifer Proctor’s A Movie by Jen Proctor, and Stephanie Spray and Pacho Velez’s Manakamana. The 22 filmmaker interviews are preceded by a conversation with Annette Michelson about what led to her early championing of documentary pioneer Dziga Vertov and avant-garde filmmakers Stan Brakhage, Yvonne Rainer, and Hollis Frampton in Artforum. An extended discussion of the thinking behind Harvard’s Sensory Ethnography Lab concludes the volume.

Best,
Scott
Scott MacDonald



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