{"product_id":"film-manifestos-and-global-cinema-cultures-9780520377479","title":"Film Manifestos and Global Cinema Cultures","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgments\u003cbr\u003e \t\u003cbr\u003e \tIntroduction. “An Invention without a Future”\u003cbr\u003e \t1. The Avant-Garde(s)\u003cbr\u003e \tThe Futurist Cinema (Italy, 1916)\u003cbr\u003e \tF.T. Marinetti, Bruno Corra, et al.\u003cbr\u003e \tLenin Decree (USSR, 1919)\u003cbr\u003e \tVladimir Ilyich Lenin\u003cbr\u003e \tThe ABCs of Cinema (France, 1917–1921)\u003cbr\u003e \tBlaise Cendrars\u003cbr\u003e \tWE: Variant of a Manifesto (USSR, 1922)\u003cbr\u003e \tDziga Vertov\u003cbr\u003e \tThe Method of Making Workers’ Films (USSR, 1925)\u003cbr\u003e \tSergei Eisenstein\u003cbr\u003e \tConstructivism in the Cinema (USSR, 1928)\u003cbr\u003e \tAlexei Gan\u003cbr\u003e \tPreface: Un chien Andalou (France, 1928)\u003cbr\u003e \tLuis Buñuel\u003cbr\u003e \tManifesto of the Surrealists Concerning L’Age d’or (France, 193)\u003cbr\u003e \tThe Surrealist Group\u003cbr\u003e \tManifesto on “Que Viva Mexico” (USA, 1933)\u003cbr\u003e \tThe Editors of Experimental Film\u003cbr\u003e \tSpirit of Truth (France, 1933)\u003cbr\u003e \tLe Corbusier\u003cbr\u003e \tAn Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934)\u003cbr\u003e \tLászló Moholy-Nagy\u003cbr\u003e \tLight*Form*Movement*Sound (USA, 1935)\u003cbr\u003e \tMary Ellen Bute\u003cbr\u003e \tProlegomena for All Future Cinema (France, 1952)\u003cbr\u003e \tGuy Debord\u003cbr\u003e \tNo More Flat Feet! (France, 1952)\u003cbr\u003e \tLettriste International\u003cbr\u003e \tThe Lettristes Disavow the Insulters of Chaplin (France, 1952)\u003cbr\u003e \tJean-Isidore Isou, Maurice Lemaître, and Gabriel Pomerand\u003cbr\u003e \tThe Only Dynamic Art (USA, 1953)\u003cbr\u003e \tJim Davis\u003cbr\u003e \tA Statement of Principles (USA, 1961)\u003cbr\u003e \tMaya Deren\u003cbr\u003e \tThe First Statement of the New American Cinema Group (USA, 1961)\u003cbr\u003e \tNew American Cinema Group\u003cbr\u003e \tFoundation for the Invention and Creation of Absurd Movies (USA, 1962)\u003cbr\u003e \tRon Rice\u003cbr\u003e \tFrom Metaphors on Vision (USA, 1963)\u003cbr\u003e \tStan Brakhage\u003cbr\u003e \tKuchar 8mm Film Manifesto (USA, 1964)\u003cbr\u003e \tGeorge Kuchar\u003cbr\u003e \tFilm Andepandan [Independents] Manifesto (Japan, 1964)\u003cbr\u003e \tTakahiko Iimura, Koichiro Ishizaki, et al.\u003cbr\u003e \tDiscontinuous Films (Canada, 1967)\u003cbr\u003e \tKeewatin Dewdney\u003cbr\u003e \tHand-Made Films Manifesto (Australia, 1968)\u003cbr\u003e \tUbu Films, Thoms\u003cbr\u003e \tCinema Manifesto (Australia, 1971)\u003cbr\u003e \tArthur Cantrill and Corinne Cantrill\u003cbr\u003e \tFor a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971)\u003cbr\u003e \tHollis Frampton\u003cbr\u003e \tElements of the Void (Greece, 1972)\u003cbr\u003e \tGregory Markopoulos\u003cbr\u003e \tSmall Gauge Manifesto (USA, 198)\u003cbr\u003e \tJoAnn Elam and Chuck Kleinhans\u003cbr\u003e \tCinema of Transgression Manifesto (USA, 1985)\u003cbr\u003e \tNick Zedd\u003cbr\u003e \tModern, All Too Modern (USA, 1988)\u003cbr\u003e \tKeith Sanborn\u003cbr\u003e \tOpen Letter to the Experimental Film Congress: Let’s Set the Record Straight (Canada, 1989)\u003cbr\u003e \tPeggy Ahwesh, Caroline Avery, et al.\u003cbr\u003e \tAnti-1 Years of Cinema Manifesto (USA, 1996)\u003cbr\u003e \tJonas Mekas\u003cbr\u003e \tThe Decalogue (Czech Republic, 1999)\u003cbr\u003e \tJan Švankmajer\u003cbr\u003e \tYour Film Farm Manifesto on Process Cinema (Canada, 212)\u003cbr\u003e \tPhilip Hoffman\u003cbr\u003e \t\u003cbr\u003e \t2. National and Transnational Cinemas\u003cbr\u003e \tFrom “The Glass Eye” (Italy, 1933)\u003cbr\u003e \tLeo Longanesi\u003cbr\u003e \tThe Archers’ Manifesto (UK, 1942)\u003cbr\u003e \tMichael Powell and Emeric Pressburger\u003cbr\u003e \tWhat Is Wrong with Indian Films? (India, 1948)\u003cbr\u003e \tSatyajit Ray\u003cbr\u003e \tBuñuel the Poet (Mexico, 1951)\u003cbr\u003e \tOctavio Paz\u003cbr\u003e \tFrench Cinema Is Over (France, 1952)\u003cbr\u003e \tSerge Berna, Guy Debord, et al.\u003cbr\u003e \tSome Ideas on the Cinema (Italy, 1953)\u003cbr\u003e \tCesare Zavattini\u003cbr\u003e \tA Certain Tendency in French Cinema (France, 1954)\u003cbr\u003e \tFrançois Truffaut\u003cbr\u003e \tSalamanca Manifesto \u0026amp; Conclusions of the Congress of Salamanca (Spain, 1955)\u003cbr\u003e \tJuan Antonio Bardem\u003cbr\u003e \tFree Cinema Manifestos (UK, 1956–1959)\u003cbr\u003e \tCommittee for Free Cinema\u003cbr\u003e \tThe Oberhausen Manifesto (West Germany, 1962)\u003cbr\u003e \tAlexander Kluge, Edgar Reitz, et al.\u003cbr\u003e \tUntitled [Oberhausen 1965] (West Germany, 1965)\u003cbr\u003e \tJean-Marie Straub, Rodolf Thome, Dirk Alvermann, et al.\u003cbr\u003e \tThe Mannheim Declaration (West Germany, 1967)\u003cbr\u003e \tJoseph von Sternberg, Alexander Kluge, et al.\u003cbr\u003e \tSitges Manifesto (Spain, 1967)\u003cbr\u003e \tManuel Revuelta, Antonio Artero, Joachin Jordà, and Julián Marcos\u003cbr\u003e \tHow to Make a Canadian Film (Canada, 1967)\u003cbr\u003e \tGuy Glover\u003cbr\u003e \tHow to Not Make a Canadian Film (Canada, 1967)\u003cbr\u003e \tClaude Jutra\u003cbr\u003e \tFrom “The Estates General of the French Cinema, May 1968” (France, 1968)\u003cbr\u003e \tThierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz\u003cbr\u003e \tManifesto of the New Cinema Movement (India, 1968)\u003cbr\u003e \tArun Kaul and Mrinal Sen\u003cbr\u003e \tWhat Is to Be Done? (France, 197)\u003cbr\u003e \tJean-Luc Godard\u003cbr\u003e \tThe Winnipeg Manifesto (Canada, 1974)\u003cbr\u003e \tDenys Arcand, Colin Low, Don Shebib, et al.\u003cbr\u003e \tHamburg Declaration of German Filmmakers (West Germany, 1979)\u003cbr\u003e \tRainer Werner Fassbinder, Werner Herzog, Wim Wenders, et al.\u003cbr\u003e \tManifesto I (Denmark, 1984)\u003cbr\u003e \tLars von Trier\u003cbr\u003e \tManifesto II (Denmark, 1987)\u003cbr\u003e \tLars von Trier\u003cbr\u003e \tManifesto III: I Confess! (Denmark, 199)\u003cbr\u003e \tLars von Trier\u003cbr\u003e \tThe Cinema We Need (Canada, 1985)\u003cbr\u003e \tR. Bruce Elder\u003cbr\u003e \tPathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985)\u003cbr\u003e \tOla Balogun\u003cbr\u003e \tManifesto of 1988 (German Democratic Republic, 1988)\u003cbr\u003e \tYoung DEFA Filmmakers\u003cbr\u003e \tIn Praise of a Poor Cinema (Scotland, 1993)\u003cbr\u003e \tColin McArthur\u003cbr\u003e \tDogme ’95 Manifesto and Vow of Chastity (Denmark, 1995)\u003cbr\u003e \tLars von Trier and Thomas Vinterberg\u003cbr\u003e \tI Sinema Manifesto (Indonesia, 1999)\u003cbr\u003e \tDimas Djayadinigrat, Enison Sinaro, et al.\u003cbr\u003e \t\u003cbr\u003e \t3. Third Cinemas, Colonialism, Decolonization, and Postcolonialism\u003cbr\u003e \tManifesto of the New Cinema Group (Mexico, 1961)\u003cbr\u003e \tEl grupo nuevo cine\u003cbr\u003e \tCinema and Underdevelopment (Argentina, 1962)\u003cbr\u003e \tFernando Birri\u003cbr\u003e \tThe Aesthetics of Hunger (Brazil, 1965)\u003cbr\u003e \tGlauber Rocha\u003cbr\u003e \tFor an Imperfect Cinema (Cuba, 1969)\u003cbr\u003e \tJulio García Espinosa\u003cbr\u003e \tTowards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969)\u003cbr\u003e \tFernando Solanas and Octavio Getino\u003cbr\u003e \tFilm Makers and the Popular Government Political Manifesto (Chile, 197)\u003cbr\u003e \tComité de cine de la unidad popular\u003cbr\u003e \tConsciousness of a Need (Uruguay, 197)\u003cbr\u003e \tMario Handler\u003cbr\u003e \tMilitant Cinema: An Internal Category of Third Cinema (Argentina, 1971)\u003cbr\u003e \tOctavio Getino and Fernando Solanas\u003cbr\u003e \tFor Colombia 1971: Militancy and Cinema (Colombia, 1971)\u003cbr\u003e \tCarlos Alvarez\u003cbr\u003e \tThe Cinema: Another Face of Colonised Québec (Canada, 1971)\u003cbr\u003e \tAssociation professionnelle des cinéastes du Québec\u003cbr\u003e \t8 Millimeters versus 8 Millions (Mexico, 1972)\u003cbr\u003e \tJaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, et al.\u003cbr\u003e \tManifesto of the Palestinian Cinema Group (Palestine, 1973)\u003cbr\u003e \tPalestinian Cinema Group\u003cbr\u003e \tResolutions of the Third World Filmmakers Meeting (Algeria, 1973)\u003cbr\u003e \tFernando Birri, Ousmane Sembene, Jorge Silva, et al.\u003cbr\u003e \tThe Luz e Ação Manifesto (Brazil, 1973)\u003cbr\u003e \tCarlos Diegues, Glauber Rocha, et al.\u003cbr\u003e \tProblems of Form and Content in Revolutionary Cinema (Bolivia, 1976)\u003cbr\u003e \tJorge Sanjinés\u003cbr\u003e \tManifesto of the National Front of Cinematographers (Mexico, 1975)\u003cbr\u003e \tPaul Leduc, Jorge Fons, et al.\u003cbr\u003e \tThe Algiers Charter on African Cinema (Algeria, 1975)\u003cbr\u003e \tFEPACI (Fédération panafricaine des cinéastes)\u003cbr\u003e \tDeclaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979)\u003cbr\u003e \tNicaraguan Institute of Cinema\u003cbr\u003e \tWhat Is the Cinema for Us? (Mauritania, 1979)\u003cbr\u003e \tMed Hondo\u003cbr\u003e \tNiamey Manifesto of African Filmmakers (Niger, 1982)\u003cbr\u003e \tFEPACI (Fédération panafricaine des cinéastes)\u003cbr\u003e \tBlack Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983)\u003cbr\u003e \tJohn Akomfrah\u003cbr\u003e \tFrom Birth Certificate of the International School of Cinema and Television in San Antonio de Los Baños, Cuba, Nicknamed the School of Three Worlds (Cuba, 1986)\u003cbr\u003e \tFernando Birri\u003cbr\u003e \tFeCAViP Manifesto (France, 199)\u003cbr\u003e \tFederation of Caribbean Audiovisual Professionals\u003cbr\u003e \tFinal Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 199)\u003cbr\u003e \tSADCC (South African Development Coordination Conference)\u003cbr\u003e \tPocha Manifesto #1 (USA, 1994)\u003cbr\u003e \tSandra Peña-Sarmiento\u003cbr\u003e \tPoor Cinema Manifesto (Cuba, 24)\u003cbr\u003e \tHumberto Solás\u003cbr\u003e \tJollywood Manifesto (Haiti, 28)\u003cbr\u003e \tCiné Institute\u003cbr\u003e \tThe Toronto Declaration: No Celebration of Occupation (Canada, 29)\u003cbr\u003e \tJohn Greyson, Naomi Klein, et al.\u003cbr\u003e \t\u003cbr\u003e \t4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos\u003cbr\u003e \tWoman’s Place in Photoplay Production (USA, 1914)\u003cbr\u003e \tAlice Guy-Blaché\u003cbr\u003e \tHands Off Love (France, 1927)\u003cbr\u003e \tMaxime Alexandre, Louis Aragon, et al.\u003cbr\u003e \tThe Perfect Filmic Appositeness of Maria Montez (USA, 1962)\u003cbr\u003e \tJack Smith\u003cbr\u003e \tOn Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967)\u003cbr\u003e \tYoko Ono\u003cbr\u003e \tStatement (USA, 1969)\u003cbr\u003e \tKenneth Anger\u003cbr\u003e \tWet Dream Film Festival Manifesto (The Netherlands, 197)\u003cbr\u003e \tS.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity)\u003cbr\u003e \tWomen’s Cinema as Counter-Cinema (UK, 1973)\u003cbr\u003e \tClaire Johnston\u003cbr\u003e \tManifesto for a Non-sexist Cinema (Canada, 1974)\u003cbr\u003e \tFECIP (Fédération européenne du cinéma progressiste)\u003cbr\u003e \tWomanifesto (USA, 1975)\u003cbr\u003e \tFeminists in the Media\u003cbr\u003e \tVisual Pleasure and Narrative Cinema (UK, 1975)\u003cbr\u003e \tLaura Mulvey\u003cbr\u003e \tAn Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977)\u003cbr\u003e \tVilgot Sjöman\u003cbr\u003e \tFor the Self-Expression of the Arab Woman (France, 1978)\u003cbr\u003e \tHeiny Srour, Salma Baccar, and Magda Wassef\u003cbr\u003e \tManifesto of the Women Filmmakers (West Germany, 1979)\u003cbr\u003e \tVerband der Filmarbeiterinnen\u003cbr\u003e \tWimmin’s Fire Brigade Communiqué (Canada, 1982)\u003cbr\u003e \tWimmin’s Fire Brigade\u003cbr\u003e \tThoughts on Women’s Cinema: Eating Words, Voicing Struggles (USA, 1986)\u003cbr\u003e \tYvonne Rainer\u003cbr\u003e \tThe Post Porn Modernist Manifesto (USA, 1989)\u003cbr\u003e \tAnnie Sprinkle, Veronica Vera, et al.\u003cbr\u003e \tStatement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991)\u003cbr\u003e \tFEPACI (Fédération panafricaine des cinéastes)\u003cbr\u003e \tPuzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998)\u003cbr\u003e \tVibeke Windeløv, Lene Børglum, et al.\u003cbr\u003e \tCinema with Tits (Spain, 1998)\u003cbr\u003e \tIcíar Bollaín\u003cbr\u003e \tMy Porn Manifesto (France, 22)\u003cbr\u003e \tOvidie\u003cbr\u003e \tNo More Mr. Nice Gay: A Manifesto (USA, 29)\u003cbr\u003e \tTodd Verow\u003cbr\u003e \tBarefoot Filmmaking Manifesto (UK, 29)\u003cbr\u003e \tSally Potter\u003cbr\u003e \tDirty Diaries Manifesto (Sweden, 29)\u003cbr\u003e \tMia Engberg\u003cbr\u003e \t\u003cbr\u003e \t5. Militating Hollywood\u003cbr\u003e \tCode to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 193)\u003cbr\u003e \tMotion Picture Producers and Distributors of America\u003cbr\u003e \tRed Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935)\u003cbr\u003e \tWilliam Randolph Hearst\u003cbr\u003e \tStatement of Principles (USA, 1944)\u003cbr\u003e \tMotion Picture Alliance for the Preservation of American Ideals\u003cbr\u003e \tScreen Guide for Americans (USA, 1947)\u003cbr\u003e \tAyn Rand\u003cbr\u003e \tWhite Elephant Art vs. Termite Art (USA, 1962)\u003cbr\u003e \tManny Farber\u003cbr\u003e \tSuper Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972)\u003cbr\u003e \tKuumba Workshop\u003cbr\u003e \tThe World Is Changing: Some Thoughts on Our Business (USA, 1991)\u003cbr\u003e \tJeffrey Katzenberg\u003cbr\u003e \tFull Frontal Manifesto (USA, 21)\u003cbr\u003e \tSteven Soderbergh\u003cbr\u003e \t\u003cbr\u003e \t6. The Creative Treatment of Actuality\u003cbr\u003e \tTowards a Social Cinema (France, 193)\u003cbr\u003e \tJean Vigo\u003cbr\u003e \tFrom “First Principles of Documentary” (UK, 1932)\u003cbr\u003e \tJohn Grierson\u003cbr\u003e \tManifesto on the Documentary Film (UK, 1933)\u003cbr\u003e \tOswell Blakeston\u003cbr\u003e \tDeclaration of the Group of Thirty (France, 1953)\u003cbr\u003e \tJean Painlevé, Jacques-Yves Cousteau, Alain Resnais, et al.\u003cbr\u003e \tInitial Statement of the Newsreel (USA, 1967)\u003cbr\u003e \tNew York Newsreel\u003cbr\u003e \tNowsreel, or the Potentialities of a Political Cinema (USA, 197)\u003cbr\u003e \tRobert Kramer, New York Newsreel\u003cbr\u003e \tDocumentary Filmmakers Make Their Case (Poland, 1971)\u003cbr\u003e \tBohdan Kosinski, Krzysztof Kieslowski, and Tomasz Zygadlo\u003cbr\u003e \tThe Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989)\u003cbr\u003e \tKidlat Tahimik, Stephen Teo, et al.\u003cbr\u003e \tMinnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999)\u003cbr\u003e \tWerner Herzog\u003cbr\u003e \tDefocus Manifesto (Denmark, 2)\u003cbr\u003e \tLars von Trier\u003cbr\u003e \tKill the Documentary as We Know It (USA, 22)\u003cbr\u003e \tJill Godmilow\u003cbr\u003e \tEthnographic Cinema (EC): A Manifesto{ths}\/{ths}A Provocation (USA, 23)\u003cbr\u003e \tJay Ruby\u003cbr\u003e \tReality Cinema Manifesto (Russia, 25)\u003cbr\u003e \tVitaly Manskiy\u003cbr\u003e \tDocumentary Manifesto (USA, 28)\u003cbr\u003e \tAlbert Maysles\u003cbr\u003e \tChina Independent Film Festival Manifesto: Shamans * Animals (People’s Republic of China, 211)\u003cbr\u003e \tBy several documentary filmmakers who participated and also who did not participate in the festival\u003cbr\u003e \t\u003cbr\u003e \t7. States, Dictatorships, the Comintern, and Theocracies\u003cbr\u003e \tCapture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925)\u003cbr\u003e \tWilli Münzenberg\u003cbr\u003e \tThe Legion of Decency Pledge (USA, 1938)\u003cbr\u003e \tArchbishop John McNicholas\u003cbr\u003e \tCreative Film (Germany, 1935)\u003cbr\u003e \tJoseph Goebbels\u003cbr\u003e \tVigilanti Cura: On Motion Pictures (Vatican City, 1936)\u003cbr\u003e \tPope Pius XI\u003cbr\u003e \tFour Cardinal Points of A Revolução de Maio (Portugal, 1937)\u003cbr\u003e \tAntónio Lopes Ribeiro\u003cbr\u003e \tFrom On the Art of Cinema (North Korea, 1973)\u003cbr\u003e \tKim Jong-il\u003cbr\u003e \t\u003cbr\u003e \t8. Archives, Museums, Festivals, and Cinematheques\u003cbr\u003e \tA New Source of History: The Creation of a Depository for Historical Cinematography (Poland\/France, 1898)\u003cbr\u003e \tBoleslaw Matuszewski\u003cbr\u003e \tThe Film Prayer (USA, c. 192)\u003cbr\u003e \tA. P. Hollis\u003cbr\u003e \tThe Film Society (UK, 1925)\u003cbr\u003e \tIris Barry\u003cbr\u003e \tFilmliga Manifesto (The Netherlands, 1927)\u003cbr\u003e \tJoris Ivens, Henrik Scholte, Men’no Ter Bbaak, et al.\u003cbr\u003e \tStatement of Purposes (USA, 1948)\u003cbr\u003e \tAmos Vogel, Cinema 16\u003cbr\u003e \tThe Importance of Film Archives (UK, 1948)\u003cbr\u003e \tErnest Lindgren\u003cbr\u003e \tA Plea for a Canadian Film Archive (Canada, 1949)\u003cbr\u003e \tHye Bossin\u003cbr\u003e \tOpen Letter to Film-Makers of the World (USA, 1966)\u003cbr\u003e \tJonas Mekas\u003cbr\u003e \tA Declaration from the Committee for the Defense of La Cinémathèque française (France, 1968)\u003cbr\u003e \tCommittee for the Defense of La Cinémathèque française\u003cbr\u003e \tFilmmakers versus the Museum of Modern Art (USA, 1969)\u003cbr\u003e \tHollis Frampton, Ken Jacobs, and Michael Snow\u003cbr\u003e \tAnthology Film Archives Manifesto (USA, 197)\u003cbr\u003e \tP. Adams Sitney\u003cbr\u003e \tToward an Ethnographic Film Archive (USA, 1971)\u003cbr\u003e \tAlan Lomax\u003cbr\u003e \tBrooklyn Babylon Cinema Manifesto (USA, 1998)\u003cbr\u003e \tScott Miller Berry and Stephen Kent Jusick\u003cbr\u003e \tDon’t Throw Film Away: The FIAF 7th Anniversary Manifesto (France, 28)\u003cbr\u003e \tHisashi Okajima and La fédération internationale des archives du film Manifesto Working Group\u003cbr\u003e \tThe Lindgren Manifesto: The Film Curator of the Future (Italy, 21)\u003cbr\u003e \tPaolo Cherchi Usai\u003cbr\u003e \tFilm Festival Form: A Manifesto (UK, 212)\u003cbr\u003e \tMark Cousins\u003cbr\u003e \t\u003cbr\u003e \t9. Sounds and Silence\u003cbr\u003e \tA Statement on Sound (USSR, 1928)\u003cbr\u003e \tSergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov\u003cbr\u003e \tA Rejection of the Talkies (USA, 1931)\u003cbr\u003e \tCharlie Chaplin\u003cbr\u003e \tA Dialogue on Sound: A Manifesto (UK, 1934)\u003cbr\u003e \tBasil Wright and B. Vivian Braun\u003cbr\u003e \tAmalfi Manifesto (Italy, 1967)\u003cbr\u003e \tMichelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, et al.\u003cbr\u003e \t\u003cbr\u003e \t10. The Digital Revolution\u003cbr\u003e \tCulture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966)\u003cbr\u003e \tStan VanDerBeek\u003cbr\u003e \tThe Digital Revolution and the Future Cinema (Iran, 2)\u003cbr\u003e \tSamira Makhmalbaf\u003cbr\u003e \tThe Pluginmanifesto (UK, 21)\u003cbr\u003e \tAna Kronschnabl\u003cbr\u003e \tDigital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 23)\u003cbr\u003e \tKhavn de la Cruz\u003cbr\u003e \t\u003cbr\u003e \t11. Aesthetics and the Futures of the Cinema\u003cbr\u003e \tThe Birth of the Sixth Art (France, 1911)\u003cbr\u003e \tRicciotto Canudo\u003cbr\u003e \tMemo from Walt Disney to Don Graham (USA, 1935)\u003cbr\u003e \tWalt Disney\u003cbr\u003e \tThe Birth of a New Avant Garde: La caméra-stylo (France, 1948)\u003cbr\u003e \tAlexandre Astruc\u003cbr\u003e \tFrom Preface to Film (UK, 1954)\u003cbr\u003e \tRaymond Williams\u003cbr\u003e \tThe Snakeskin (Sweden, 1965)\u003cbr\u003e \tIngmar Bergman\u003cbr\u003e \tManifesto (Italy, 1965)\u003cbr\u003e \tRoberto Rossellini, Bernardo Bertolucci, Tinto Brass, et al.\u003cbr\u003e \tManifesto on the Release of La Chinoise (France, 1967)\u003cbr\u003e \tJean-Luc Godard\u003cbr\u003e \tDirect Action Cinema Manifesto (USA, 1985)\u003cbr\u003e \tRob Nilsson\u003cbr\u003e \tRemodernist Film Manifesto (USA, 28)\u003cbr\u003e \tJesse Richards\u003cbr\u003e \tThe Age of Amateur Cinema Will Return (People’s Republic of China, 21)\u003cbr\u003e \tJia Zhangke\u003cbr\u003e \t\u003cbr\u003e \tAppendix. What Is a Manifesto Film?\u003cbr\u003e \tNotes\u003cbr\u003e \tAcknowledgments of Permissions\u003cbr\u003e \tIndex","brand":"University of California Press","offers":[{"title":"Default Title","offer_id":49402946355543,"sku":"9780520377479","price":37.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780520377479.jpg?v=1730481929","url":"https:\/\/bookcurl.com\/products\/film-manifestos-and-global-cinema-cultures-9780520377479","provider":"Book Curl","version":"1.0","type":"link"}