Table of Contents

Acknowledgements.- Introduction to the 2nd Edition.- Preface.- Introduction.- Sitting the Avant-Garde.- Vision Machine.- Time Base.- Point of View.- Modernisms.- PART I: THE CANONICAL AVANT-GARDE.- Origins of the Moving Image (1780-1880).- Photography.- Art and the Avant-Garde: Summary 1909-20.- The Cubists.- Primitives and Pioneers (1880-1915).- Futurists.- Abstract Film.- The Comic Burlesque.- The Art Cinema and its Circuit.- Cine-Poems and Lyric Abstraction.- Origins of Abstract Film.- The Absolute Film.- Cubism and Poular Film.- Dada and Surrealist Film.- The French Avant-Garde 1924-32.- Voice and Vision in the Pre-War Avant-Garde.- Transition: into the 1930s and Documentary.- Reviewing the First Avant-Garde.- Underground.- Two Avant-Gardes (Mark 1)?.- Structural.- PART II: BRITAIN, 1966-98.- English Structuralists.- Primitives and Post-Structralists.- Video Stirs.- Art and Politics.- A cinema of Small Gestures.- Rebel Waves.- Art Cinema's Odd Couple: Derek Jarman and Peter Greenaway.- New Pluralism.- Black British.- Electronic Arts.- yBa.- 'Where are we now?'.- Points of Resistance.- Conclusion: In the Gallery and on the Air.- The Migrating Frame from Film to Video.- Topologies.- The Origins of the Avant-garde and Current Practice.- Notes.- Bibliography.- Index.

About the Author

A.L. REES was a Research Tutor in Visual Communication, Royal College of Art, London.