{"title":"Moving Images","description":"","products":[{"product_id":"lieux-de-memoire-and-desire","title":"Lieux de Mémoire and Desire","description":"\u003cp\u003e\u003cem\u003eLieux de Mémoire and Desire\u003c\/em\u003e presents five cinematic works of Maya Schweizer and examines how the artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial – a relation which traces back to both the very beginnings of montage and incorporates the research of French historian Pierre Nora. Recurring moments in Schweizer’s multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect.\u003c\/p\u003e\n\u003cp\u003eSupported by the Staatliche Kunsthalle Baden-Baden on the occasion of the exhibition Der sterbende Soldat von Les Milles curated by Moritz Scheper. This publication was made possible with the support of the Kulturstiftung des Freistaates Sachsen and the Bureau des arts plastiques\/Institut français.\u003c\/p\u003e\n\u003cp\u003eMaya Schweizer studied at the School of Visual Arts in Leipzig and at the Berlin University of the Arts with Professor Lothar Baumgarten. Her solo exhibitions include \u003cem\u003eThe Same Story Elsewhere\u003c\/em\u003e at the Westfälischen Kunstverein, Münster (2010); Metropolis. \u003cem\u003eReport from China\u003c\/em\u003e with Clemens von Wedemeyer at the Frankfurter Kunstverein (2011); \u003cem\u003eEdith Seeshow’s Notes\u003c\/em\u003e, Kunstverein Langenhagen (2013); and \u003cem\u003eDer sterbende Soldat von Les Milles\u003c\/em\u003e in the 45 cbm exhibition space at Kunsthalle Baden-Baden (2015).\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46745865126218,"sku":"9783943620320","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Lieux-de-memoire.jpg?v=1684237499"},{"product_id":"mobile-cinema","title":"Mobile Cinema","description":"\u003cp\u003eTravelling with the most diverse inventions of image machines was a common practice already in pre-cinema times, in order to present both new possibilities of visual perception as well as images of distant cities and countries, often in connection with educational intentions, at fun fairs, in show booths or in public places. The symbiosis of cinema and train was pushed the farthest by Alexander Medvedkin with his cine-train. While these trains had been travelling with the aim of mobilising the people by showing documentary films and theatre performances, Medvedkin went one step further, and integrated the production of the films itself into the cine-train, in order to be able to react directly and immediately and to produce and show films wherever he was.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eMobile Cinema\u003c\/em\u003e presentation apparatus – somewhere between urban model, cinema, and plate camera – derived its form from Alexander Medvedkin’s film \u003cem\u003eThe New Moscow\u003c\/em\u003e (1938), in which an engineer used it to present his designs and visions for Moscow on his journey into the Soviet capital. The real space is replaced by a city of models representing a new reality by cinematographic means.\u003c\/p\u003e\n\u003cp\u003eRomana Schmalisch constructed the \u003cem\u003eMobile Cinema\u003c\/em\u003e and used the apparatus to present a montage of images and film extracts on different subjects to the audiences at the diverse performance venues, and complemented it by reading text contributions by invited guests. Over the years, the programme constantly changed, materials and filmic notes collected or produced on the journeys found their way back into the \u003cem\u003eMobile Cinema\u003c\/em\u003e programme, sometimes also leaving it and becoming independent films in their own right.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46745873121610,"sku":"9783943620627","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Mobile-cinema.jpg?v=1684237743"},{"product_id":"da-capo-fifteen-films","title":"Da Capo. Fifteen Films","description":"Between 1961 and 1967, the French filmmaker Chris Marker published, through Éditions du Seuil, two volumes entitled \u003cem\u003eCommentaires\u003c\/em\u003e. Marker himself, who had collaborated as both an author and editor for the publishers – for whom he had conceived and curated, amongst others, the illustrated volumes of \u003cem\u003ePetite Planète\u003c\/em\u003e series (1954–1964) – designed the two publications that contain the ‘commentaries’ or scripts of his first films. As a cineast and bibliophile, Marker’s interest in the relationship between images and text underscored both the film-essay and the book ‘ersatz cinema’. \u003cbr\u003eThe structure and compositional method chosen for the volume \u003cem\u003eDeimantas Narkevičiu\u003c\/em\u003es. Da Capo. Fifteen Films, ‘revisits’ Marker’s form of commentary, making its own a theme that is dear to the Lithuanian artist and filmmaker. Indeed, the parallels and superimpositions between film material and printed matter are not secondary in Narkevičius’s work: from the shooting of Stanislaw Lem’s novel in \u003cem\u003eRevisiting Solaris\u003c\/em\u003e, to the enactment of the founding myth of the city of Vilnius in \u003cem\u003eLegend Coming True\u003c\/em\u003e, to the tracking shot over the covers on display in a German Democratic Republic bookshop in \u003cem\u003eInto the Unknown\u003c\/em\u003e, through to his more recent video, \u003cem\u003eBooks on Shelves and Without Letters\u003c\/em\u003e, shot inside a second-hand book shop.\u003cbr\u003e The relationship between text and image emerges again in the various stratifications of speech (voiceover, direct, transmitted, deferred, etc), as a multiplicity of levels that defines time both in a biographical and historical way. In transcribing the integral version of the film’s dialogue list, we have attempted to account for this articulation specific to Narkevičius’s film montages, highlighting, where considered necessary, the corresponding scenes and the subject of the enunciation. The publication is completed by the comments of 16 authors on the 15 films made by Narkevičius from 1997 through to today, an exception being made for \u003cem\u003eScena\u003c\/em\u003e (2003) and \u003cem\u003eAusgeträumt\u003c\/em\u003e (2010), to which reference is made in parallel with the reading of \u003cem\u003eBooks on Shelves and Without Letters\u003c\/em\u003e. Each film is introduced by the artist’s personal statement. —Marco Scotini, Paolo Caffoni \u003cbr\u003e\u003cbr\u003eThis publication constitutes the first comprehensive overview of the filmic production by the video-artist and filmmaker Deimantas Narkevičius (1964): over 20 years of production and more than 200 exhibitions all over the world. The book has been produced by Museo Marino Marini, Florence (on the occasion of the exhibition ‘Da Capo’, curated by Andrea Viliani and Alberto Salvadori) in collaboration with MSU – Muzej suvremene umjetnosti \/ Museum of Contemporary Art, Zagreb (on the occasion of the exhibition ‘Da Capo’, curated by Marco Scotini with Radmila Iva Janković), with the support of gb agency, Paris, and Galerie Barbara Weiss, Berlin.","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46745878888778,"sku":"9783943620283","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Deimantas-narkevicius.jpg?v=1684238145"},{"product_id":"buon-lavoro","title":"Buon Lavoro Four Films on Workers´Communities","description":"\u003cp\u003eStonemasons, cinema staff, a climbers’ cooperative, a group of 1970s militants. These communities testify to a period of upheaval that swept across Europe from the late 1960s to 1989. The fragments of biographies and the social relationships that Cora Piantoni depicts, are episodes in the context of this historic narrative: the legacy of anti-fascism in Italy, political dissent in the former Eastern Bloc, the fall of the Berlin Wall and the end of Portuguese colonialism.\u003c\/p\u003e\n\u003cp\u003eCora Piantoni was born in 1975 in Munich. She graduated from the Academy of Fine Arts in Munich and the University of Art and Design in Zurich where she lives and works. She is an artist, photographer and filmmaker, working with storytelling and re-enactment. In extensive researches, she focuses on the end of the Cold War and the political changes in Europe. She has exhibited her work in solo and group shows internationally. Piantoni was awarded several grants and was as artist in residence in Klenová, Dresden, Gdańsk and Genoa.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46745891733834,"sku":"9783943620771","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Buon-lavoro.jpg?v=1684238389"},{"product_id":"japanese-expanded-cinema-and-intermedia-critical-texts-of-the-1960s","title":"Japanese Expanded Cinema and Intermedia: Critical Texts of the 1960s","description":"\u003cp\u003eIntermedia and Expanded Cinema, both as critical approach and artistic practice, left an indelible mark in a period of Japanese art history that is broadly considered to be one of its most dynamic moments in the wake of its postwar reemergence.\u003c\/p\u003e\n\u003cp\u003eDespite the burgeoning interest in academic and curatorial circles in this segment of Japanese art history, the paucity of readily available material in a language other that Japanese has meant the local context, particularly the ways in which the terms were critically debated, was relatively neglected.\u003c\/p\u003e\n\u003cp\u003eRather than assuming the interpretations of the terms were the same as their counterparts abroad, we decided to commission translations of a selection of key texts that we felt were instrumental in shaping the specific discourse around these terms.\u003c\/p\u003e\n\u003cp\u003eThrough these translations, our hope is that Japanese debates on intermedia can contribute to international discourse, and that works of Japanese Expanded cinema can be preserved, reenacted and analyzed with these discussions in mind.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eCollaborative Cataloging Japan is an international non-profit, 501(c)3, organization dedicated to preserving the legacy of Japanese experimental moving image produced from the 1950s through 1980s, including fine art on film and video, documentations of performance, independently produced documentaries, experimental animation and experimental television. \u003cbr\u003e\u003ca href=\"https:\/\/www.collabjapan.org\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ewww.collabjapan.org\u003c\/a\u003e\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790542426442,"sku":"9783948212292","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Japanese-Expanded-Media.jpg?v=1685447016"},{"product_id":"after-cinema","title":"After Cinema","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThis book marks the ten-year anniversary of the project A Collective Memory by Azin Feizabadi. The project encompasses five narrative-driven films, alongside other artworks. Each film has its own urgency, approach, and point of departure. The films naturally vary in their subjects, they touch upon stories of migration, uprising, transformation, revolution, renewal, collapse, defeat, depression, and desire that connect the life of the artist with those around him. The research materials that have come up over the course of this project consist, on the one hand, of concrete historical events and, on the other hand, all the innumerable, fragmented personal memories spread between pats, presents, and futures that narrate every-changing stories of how things were, are, and may be.\u003cbr\u003e \u003cbr\u003eHow to translate the principles of such layered project into a publication? How to imagine through the films? What stories could be further told? What happens after leaving the cinema? Where does cinema begin and where does it end? After cinema collects narratives, each contributor to the publication was asked to watch one of the five films in A Collective Memory and to write a fiction in response. Or rather, a continuation of the story, a personal variation, a translation in the literal sense: a carrying over of the film into one’s own language. In many ways, the artist wanted to let go of his films and see them anew through the eyes of others. Indeed, to whom belongs a film—to its author, its director, its cast and crew, its audiences, its critics?\u003cbr\u003e \u003cbr\u003eThe films are showed in the book as images that flicker across the screen or the page, exploring how the stories of others intersect with them, together forming unexpected conversations.\u003c\/p\u003e\n\u003cdiv class=\"product-contributors\"\u003e\n\u003cspan class=\"label-above\"\u003eContributors: \u003c\/span\u003e\u003cspan class=\"product-contributor\"\u003eJens Maier-Rothe \u0026amp; Ashkan Sepahvand (co-editors)\u003c\/span\u003e\u003cspan class=\"product-contributor\"\u003eShahab Fotouhi, Nanna Heidenreich, Sarah Rifky, Rasha Salti, Ashkan Sepahvand, Jan Verwoert, Chiara Figone\u003c\/span\u003e\n\u003c\/div\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790758891850,"sku":"9783948212001","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/csm_AfterCinemaAzinFeizabadiArchiveBooksGrafikdesignArchive_Appendix_194db931a4.jpg?v=1765184411"},{"product_id":"revisiting-womens-cinema","title":"Revisiting Women's Cinema","description":"\u003cp\u003eIn Revisiting Women’s Cinema, Lingzhen Wang ponders the roots of contemporary feminist stagnation and the limits of both commercial mainstream and elite minor cultures by turning to socialist women filmmakers in modern China. She foregrounds their sociopolitical engagements, critical interventions, and popular artistic experiments, offering a new conception of socialist and postsocialist feminisms, mainstream culture, and women’s cinema. Wang highlights the films of Wang Ping and Dong Kena in the 1950s and 1960s and Zhang Nuanxin and Huang Shuqin in the 1980s and 1990s to unveil how they have been profoundly misread through extant research paradigms entrenched in Western Cold War ideology, post-second-wave cultural feminism, and post-Mao intellectual discourses. Challenging received interpretations, she elucidates how socialist feminism and culture were conceptualized and practiced in relation to China’s search not only for national independence and economic development but also for social emancipation, proletarian culture, and socialist internationalism. Wang calls for a critical reevaluation of historical materialism, socialist feminism, and popular culture to forge an integrated emancipatory vision for future transnational feminist and cultural practices.\u003c\/p\u003e","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":46792491041098,"sku":"","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/products\/9781478010807.jpg?v=1685526751"},{"product_id":"1970-2018-interviews-with-med-hondo-a-cinema-on-the-run","title":"1970—2018 Interviews with Med Hondo – A Cinema on the Run","description":"\u003cp\u003e\u003cem\u003e1970—2018 Interviews with Med Hondo\u003c\/em\u003e, the first volume in a three-part publication, brings together seventeen interviews conducted with Med Hondo over a period of almost half a century, most of the interviews originally published in French were translated into English. The book originated in the long-term project \u003cem\u003eCours, cours, camarade, le vieux monde est derrière toi—Run, comrade, run, the old world is behind you—The Cinema of Med Hondo\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eTo read Med Hondo opens us up to many perspectives: to his work and its time-historical contexts, to his interests and obsessions, to his standpoint with regard to the intertwining of politics, economics, and culture. Med Hondo describes the school of pronunciation until such point as the slightest accent is erased; he observes the insults immigrants in France have had to tolerate, and fuses their stories and histories with the present; he builds bridges to the Caribbean and to the Western Sahara, to Algeria and Burkina Faso, to Niger and Senegal, to South Africa and the USA. This publication aims to draw attention to Med Hondo’s cinema and legacy.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cem\u003e1970—2018 Interviews with Med Hondo\u003c\/em\u003e is published in the frame of the film research, festival and exhibition project \u003cem\u003eCours, cours, camarade, le vieux monde est derrière toi—Run, comrade, run, the old world is behind you—The Cinema of Med Hondo\u003c\/em\u003e by Arsenal – Institut für Film und Videokunst e.V. (Berlin) in partnership with Med Hondo, MH Films (Montreuil) and silent green Kulturquartier (Berlin).\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46792516993354,"sku":"9783948212070","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Med-Hondo-1.jpg?v=1685527221"},{"product_id":"where-is-cinema","title":"Where is Cinema","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe book is compiled of portraits of film initiatives from around the world, interwoven with conversations with adventurers who have rebooted movie theatres or built them up from the ground, in the hope that it can be an inspiring compendium for future cinema builders, filmmakers, film curators and film lovers.\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv\u003eAnouk De Clercq in conversation with Verena von Stackelberg, Ana López Ortego and Daniel Bejarano, Ilona Jurkonytė and Ugnė Marija Andrijauskaitė, Adam Pugh, Thomas Liu and Silja Espolin Johnson, Erika Balsom, Beatrice Gibson, María Palacios Cruz and Ben Rivers, Heather Lane and Mia Ferm.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46833833017674,"sku":"9783948212162","price":16.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/image_be602f94-3016-45f8-8a2c-024269a13aac.jpg?v=1686835020"},{"product_id":"film-in-the-present-tense","title":"Film in the Present Tense","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp\u003eThis book brings together contributions from participants and guests of Film in the Present Tense – International Symposium on Current Developments in Analog Film Culture, held in Berlin. It reflects a contemporary discussion around the use, value and purpose of analogue film from a multiplicity of perspectives: artists, filmmakers, scholars, archivists, curators, technicians and manufacturers. Film in the Present Tense intends to provide a documentation of the collective momentum that characterized the symposium and it responds to the persistent desire to keep talking about analogue film.\u003c\/p\u003e\n\u003cp\u003eOrganized by LaborBerlin in collaboration with Filminstitut Udk Berlin\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46834418254154,"sku":"9783948212322","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/image_769eb1ff-b358-4454-bcdb-7d70ad9a5ac5.jpg?v=1686845065"},{"product_id":"questioning-african-cinema-conversations-with-filmmakers","title":"Questioning African Cinema Conversations with Filmmakers","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"handle\" data-mce-fragment=\"1\"\u003eThe most comprehensive account available of filmmaking in Africa today\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDiverse in their art, paradoxically more celebrated abroad than they are at home, African filmmakers eke out their visions against a backdrop of complex historical, social, economic, and political practices. The richness of their accomplishments emerges with compelling clarity in this book, in which African filmmakers speak candidly about their work.\u003c\/p\u003e","brand":"University Of Minnesota Press","offers":[{"title":"Default Title","offer_id":46876729475402,"sku":"9780816640058","price":30.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/mini_4_c51c870c-a8c7-47e7-97e8-e9efa07a1ea5.jpg?v=1688213717"},{"product_id":"film-blackness-american-cinema-and-the-idea-of-black-film","title":"Film Blackness: American Cinema and the Idea of Black Film","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eFilm Blackness\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eCoonskin\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1975), black performativity in Wendell B. Harris Jr.'s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eChameleon Street\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1989), blackness and noir in Bill Duke's \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eDeep Cover\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1992), and how place and desire impact blackness in Barry Jenkins's \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eMedicine for Melancholy\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e(2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality.\u003c\/span\u003e","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":46967589536074,"sku":"","price":27.95,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/9780822362265_8c590813-82d4-4a58-bda7-882a2231a780.jpg?v=1690974599"},{"product_id":"film-undone-elements-of-a-latent-cinema","title":"Film Undone. Elements of a Latent Cinema","description":"\u003cp\u003eFilm Undone presents contributions introducing unmade and unfinished film projects, film ideas realised in non-filmic media, as well as films that remained unseen in their intended form and at their intended time. 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It marks a sustained potentiality for things to change their condition, to affect us and set us in motion.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":48674325233994,"sku":"9783949973321","price":25.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Cover-web.jpg?v=1717757305"},{"product_id":"queer-african-cinemas","title":"Queer African Cinemas","description":"\u003cp\u003eIn \u003ci\u003eQueer African Cinemas\u003c\/i\u003e, Lindsey B. Green-Simms examines films produced by and about queer Africans in the first two decades of the twenty-first century in an environment of increasing antiqueer violence, efforts to criminalize homosexuality, and other state-sanctioned homophobia. Green-Simms argues that these films not only record the fear, anxiety, and vulnerability many queer Africans experience; they highlight how queer African cinematic practices contribute to imagining new hopes and possibilities. Examining globally circulating international art films as well as popular melodramas made for local audiences, Green-Simms emphasizes that in these films queer resistance—contrary to traditional narratives about resistance that center overt and heroic struggle—is often practiced from a position of vulnerability. By reading queer films alongside discussions about censorship and audiences, Green-Simms renders queer African cinema as a rich visual archive that documents the difficulty of queer existence as well as the potentials for queer life-building and survival.\u003c\/p\u003e","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":49260529320266,"sku":"9781478018018","price":29.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Untitled.jpg?v=1726751445"},{"product_id":"queer-post-cinema","title":"Queer Post-Cinema","description":"\u003cdiv class=\"blurb\"\u003e\n\u003cp\u003eThe pioneers of what has been labelled New Queer Cinema laid the foundation for a Queer Post-Cinema — a movement in which artists experiment with technology in innovative ways. Through original readings of Todd Haynes’s early films, Sharon Hayes and Yael Bartana’s videos and installations, Su Friedrich’s digital video\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"italic\"\u003eSeeing Red\u003c\/span\u003e\u003c\/em\u003e, Charlie Prodgers’s iPhone film\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"italic\"\u003eBridgit\u003c\/span\u003e\u003c\/em\u003e, and Claire Denis’s science-fiction film\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"italic\"\u003eHighlife\u003c\/span\u003e\u003c\/em\u003e, this monograph shows how artists are creating a new form of resistance in the time of the digital image and generative AI.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Ici Berlin Press","offers":[{"title":"Default Title","offer_id":50958805762378,"sku":"","price":21.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/cover_ci-32.jpg?v=1748606818"},{"product_id":"cinema-dignity-identity-and-beautiful","title":"Cinema, Dignity, Identity and Beautiful","description":"\u003cp\u003eThis is the first book of its kind to offer you the anti-caste lens to look at movies and cinema in India. It not only talks about movies but also cinemas in general, the development of OTT and also the past where cinema was also a medium in which histories were distorted and people were de-humanized.\u003c\/p\u003e\n\u003cp\u003eDo read, learn and reflect on what does it mean for Dalit communities to be a part of cinematic imagination in caste society with their anti-caste stories.\u003c\/p\u003e","brand":"Panther's Paw Publication","offers":[{"title":"Default Title","offer_id":51077312741706,"sku":"","price":5.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Captured_ecran2025-06-16160433.jpg?v=1750082686"}],"url":"https:\/\/archive-books-berlin.myshopify.com\/collections\/moving-images.oembed","provider":"Archive Souq","version":"1.0","type":"link"}