Optic Antics: The Cinema of Ken Jacobs by Michele Pierson, David E. James, Paul Arthur
By Michele Pierson, David E. James, Paul Arthur
Ken Jacobs has been making cinema for greater than fifty years. besides over thirty movie and video works, he has created an array of shadow performs, sound items, installations, and magic lantern and movie performances that experience reworked how we glance at and examine relocating photographs. he's a part of the everlasting collections at MoMA and the Whitney, and his paintings has been celebrated in Europe and the U.S. whereas his significance is well-recognized, this can be the 1st quantity committed completely to him. It contains essays via popular movie students besides pictures and private items from artists and critics, all of which testify to the extreme style and impression of his accomplishments. somebody attracted to cinema or experimental arts might be well-rewarded via a better acquaintance with the genius, the innovation, and the optical antics of Ken Jacobs.
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Additional resources for Optic Antics: The Cinema of Ken Jacobs
Titles available on DVD at the time of publication include Star Spangled To Death (2005), Ontic Antics Starring Laurel And Hardy: Bye, Molly (2005), Let There Be Whistleblowers (2005), Celestial Subway Lines/Salvaging Noise (New York: Tzadik, 2005), New York Ghetto Fishmarket 1903 (New York: Tzadik, 2007), Tom, Tom, The Piper’s Son and A Tom Tom Chaser (2008); Little Stabs At Happiness is available on Treasures IV: American Avant-Garde Film, 1947–1986 (Image Entertainment, 2009); The Whirled is available on Azazel Jacobs, The Good Times Kid (Benten Films, 2009).
James, Allegories of Cinema, 247–48. Lois Mendelson and Bill Simon, “‘Tom, Tom, the Piper’s Son’, ” Artforum 10, no. 1 (September 1971): 46–52. Kristin Thompson, “The Concept of Cinematic Excess,” in Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen (New York: Columbia University Press, 1986), 130–41. See Patricia Mellencamp, “Theoretical Objects,” in Indiscretions: Avant-Garde Film, Video, and Feminism (Bloomington: Indiana University Press, 1990), 96–97. See Annette Michelson, “Gnosis and Iconoclasm: A Case Study of Cinephilia Gnosis and Iconoclasm: A Case Study of Cinephilia,” October 83 (Winter 1998): 15–16.
A place where he has persevered, indeed flourished, as administrator and teacher is the Film Department at SUNY Binghamton, a joint program of filmmaking and history he created more or less in his own image. Jacobs recruits as instructors a shifting roster of some of the most important avantgarde filmmakers and buttresses the academic curriculum with the sort of oddball courses and screenings that characterized his vision of the Collective (he is currently offering a course in the representation of God).