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Preface | |
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Introduction: A Reader's Guide to the American Avant-Garde Film | |
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The Formative Years, 1955-58 | |
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The Film as an Original Art Form | |
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The Experimental Film in America | |
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Metaphysic of Ordet: A Letter from Carl Th. Dreyer | |
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Citizen Kane: The American Baroque | |
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In Memoriam of Dimitri Kirsanov, a Neglected Master | |
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A Preface to the Problems of the Experimental Film | |
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The Merry Widow | |
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Portrait of an Artist | |
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A Footnote to Foolish Wives | |
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Coffee, Brandy, and Cigars XXX | |
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The New American Cinema | |
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A Call for a New Generation of Film-Makers | |
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For an Uncontrolled Cinema | |
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The First Statement of the New American Cinema Group | |
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To Maya Deren | |
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Notes on the New American Cinema | |
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For Shadows, Against Pull My Daisy | |
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The Commercial Cinema and the Auteur Theory | |
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Notes on the Auteur Theory in 1962 | |
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The Camera as a God | |
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Dreyer | |
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Defense of Jayne Mansfield | |
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The American Avant-Garde | |
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Poetry and the Film: A Symposium with Maya Deren, Arthur Miller, Dylan Thomas, Parker Tyler. Chairman, Willard Mass | |
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Imagism in Four Avant-Garde Films | |
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Interview with Stan Brakhage | |
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The Birth Film | |
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Respond Dance | |
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On The Art of Vision | |
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Harry Smith Interview | |
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Kenneth Anger's Scorpio Rising | |
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Smith Myth | |
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Interview with Peter Kubelka | |
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Some Notes on Sleep | |
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The Cosmic Cinema of Jordan Belson | |
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Notes on Some New Movies and Happiness | |
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Structural Film | |
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On "Structural Film" | |
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Overviews and Theoretical Considerations | |
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The Writings of Dziga Vertov | |
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Orson Welles and the Big Experimental Film Cult | |
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Classic Plastics (and Total Tectonics) | |
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The Image of the Body | |
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A Note on Comedy in Experimental Film | |
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Film and the Radical Aspiration | |
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The Independent Film Award | |
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Index | |