Transmedia Frictions: The Digital, the Arts, and the Humanities

Editors Marsha Kinder and Tara McPherson present an authoritative collection of essays on the continuing debates over medium specificity and the politics of the digital arts. Comparing the term and#147;transmediaand#8221; with and#147;transnational,and#8221; they show that the movement beyond specific media or nations does not invalidate those entities but makes us look more closely at the cultural specificity of each combination. In two parts, the book stages debates across essays, creating dialogues that give different narrative accounts of what is historically and ideologically at stake in medium specificity and digital politics. Each part includes a substantive introduction by one of the editors.

Part 1 examines precursors, contemporary theorists, and artists who are protagonists in this discursive drama, focusing on how the transmedia frictions and continuities between old and new forms can be read most productively: N. Katherine Hayles and Lev Manovich redefine medium specificity, Edward Branigan and Yuri Tsivian explore nondigital precursors, Steve Anderson and Stephen Mamber assess contemporary archival histories, and Grahame Weinbren and Caroline Bassett defend the open-ended mobility of newly emergent media.

In part 2, trios of essays address various ideologies of the digital: John Hess and Patricia R. Zimmerman, Herman Gray, and David Wade Crane redraw contours of race, space, and the margins; Eric Gordon, Cristina Venegas, and John T. Caldwell unearth database cities, portable homelands, and virtual fieldwork; and Mark B.N. Hansen, Holly Willis, and Rafael Lozano-Hemmer and Guillermo Gand#243;mez-Peand#241;a examine interactive bodies transformed by shock, gender, and color.

An invaluable reference work in the field of visual media studies, Transmedia Frictions provides sound historical perspective on the social and political aspects of the interactive digital arts, demonstrating that they are never neutral or innocent.

"The most important film book of the year . . . required reading for both students and lovers of cinema."

and#8220;Capture[s] the vitality and global tenor of the contemporary art world. . . . Indispensable for artists and art historians alike. . . . Essential.and#8221;

Film Manifestoes and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world.

This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

"This book offers an exciting and productive way of thinking about cinema, allowing the reader to become acquainted with a large range of important declarations on film and on its mission from across its history. This is a volume that every film scholar will want to have."

—Dana Polan, Professor of Cinema Studies, New York University

"Embracing the entire history of cinema, this work maps in detail territory barely explored hitherto, and is fully contextualized through historically informed and theoretically informative commentary that places the manifesto at the heart of film history and film culture. A hugely impressive achievement."

—Annette Kuhn, co-author of the Oxford Dictionary of Film Studies

"This is a galvanizing collection of hundreds of calls to arms for the cinema. It's an inspiring affirmation of the core vitality of this most important art across decades and throughout the world."

—Bill Nichols, author of Introduction to Documentary, 2nd edition, and Engaging Cinema

and#147;As someone who attended and participated in the 1999 Interactive Fictions conference, which in many ways consolidated more than a decade of theorizing about and experimenting with digital media, I was uncertain what to expect from Transmedia Frictions. What I found was a rich collection that looks both backward to reconstruct the paths not taken in digital theory and forward to imagine alternative ways of framing issues of medium specificity, digital identities, embodiment, and space/place. This collection is sure to transform how we theorizeand#151;and teachand#151;the next phases of our profound and prolonged moment of media transition.and#8221;and#151;Henry Jenkins, author of Convergence Culture: Where Old and New Media Collide

and#147;This anthology is both an essential document in the history of new media studies and a springboard for critical future work in this field. The breadth of this impressive work is itself instructive about our twenty-first-century academic and scholarly goals.and#8221;and#151;Mark J. Williams, coeditor of Interfaces: Studies in Visual Culture series

First published in 1996, this irreplaceable resource has now been updated, revised, and expanded by Kristine Stiles to represent thirty countries and more than one hundred new artists. Stiles has added forty images and a diverse roster of artists, including many who have emerged since the 1980s, such as Julie Mehretu, Carrie Mae Weems, Damien Hirst, Shirin Neshat, Cai Guo-Qian, Olafur Eliasson, Matthew Barney, and Takashi Murakami. The writings, which as before take the form of artists' statements, interviews, and essays, make vivid each artist's aesthetic approach and capture the flavor and intent of his or her work. The internationalism evident in this revised edition reflects the growing interest in the vitality of contemporary art throughout the world from the U.S. and Europe to the Middle East, Asia, Africa, Latin America, and Australia.

"Contrary to the popular myth of the 'inarticulate' artist, the literature of contemporary art is rich and varied and, until now, widely scattered. Theories and Documents of Contemporary Art is the most comprehensive selection of such writings available. An essential resource for scholars, it also offers the lay reader generous doses of vivid and provocative writing." --Robert Storr, Yale University

"The accomplishment of this book is astounding. It will change the way scholars think about the totality of the world of contemporary art, and it will be the essential text for generations of students to come." --Richard Shiff, University of Texas, Austin

In this innovative synthesis of film history and cultural analysis, Marsha Kinder examines the films of such key directors as Buñuel, Saura, Erice, and Almodóvar, as well as works from the popular cinema and television, exploring how they manifest political and cultural tensions related to the production of Spanish national identity within a changing global context.

Concentrated on the decades from the 1950s to the 1990s, Kinder's work is broadly historical but essentially conceptual, moving backward and forward in time, drawing examples from earlier films and from works of art and literature, and providing close readings of a wide range of texts. Her questioning and internationalizing of the "national cinema" concept and her application of contemporary critical theory—especially insights from feminism, Marxism, psychoanalysis, cultural studies, and discourse theory—distinguish Blood Cinema from previous film histories. The author also makes use of a variety of sources within Spain such as the commentaries on Spanish character and culture by Unamunov and others, the contemporary debate over the restructuring of Spanish television.

Kinder's book moves Spanish cinema into the mainstream of film studies by demonstrating that a knowledge of its history alters and enriches our understanding of world cinema.

The interactive CD-ROM is available from CINE-DISCS, 2021 Holly Hill Terrace, Los Angeles, CA 90068, (213) 876-7678.

"This is the most complete, in-depth, sophisticated study of Spanish cinema available in any language."—Marvin D'Lugo, author of The Films of Carlos Saura

How do children today learn to understand stories? Why do they respond so enthusiastically to home video games and to a myth like Teenage Mutant Ninja Turtles? And how are such fads related to multinational media mergers and the "new world order"? In assessing these questions, Marsha Kinder provides a brilliant new perspective on modern media.

"A very productive, thought-provoking analysis of new transformations in today's narrative media and their interpretations of the child-spectator."—Dana Polan, Editor,Cinema Journal

Marsha Kinder is an Emerita University Professor of Critical Studies at University of Southern California's School of Cinematic Arts and the author of many books, including Playing with Power and Blood Cinema. Since 1997, she has directed The Labyrinth Project, an art collective and research initiative on database narrative, which has produced twelve interactive projects (DVDs, websites, and installations). Her latest online project is interactingwithautism.com. She is also a longtime member of the Editorial Board of Film Quarterly and is currently working on a book titled Database Narrative in the Light of Neuroscience.

Tara McPherson is Associate Professor at the University of Southern California's School of Cinematic Arts; author of the Cawelti Awardand#150;winning Reconstructing Dixie; editor of Digital Youth, Innovation, and the Unexpected; coeditor of Hop on Pop: The Politics and Pleasures of Popular Culture; a founding editor of both the International Journal of Learning and Mediaand#160;and of the online media journal Vectors. She is the Lead Investigator of the Alliance for Networking Visual Culture and is completing Designing for Difference, based upon ten years of digital production collaborations.

Acknowledgments

Introduction. “An Invention without a Future”

1. The Avant-Garde(s)

The Futurist Cinema (Italy, 1916)

F.T. Marinetti, Bruno Corra, et al.

Lenin Decree (USSR, 1919)

Vladimir Ilyich Lenin

The ABCs of Cinema (France, 1917–1921)

Blaise Cendrars

WE: Variant of a Manifesto (USSR, 1922)

Dziga Vertov

The Method of Making Workers Films (USSR, 1925)

Sergei Eisenstein

Constructivism in the Cinema (USSR, 1928)

Alexei Gan

Preface: Un chien Andalou (France, 1928)

Luis Buñuel

Manifesto of the Surrealists Concerning LAge dor (France, 193)

The Surrealist Group

Manifesto on “Que Viva Mexico” (USA, 1933)

The Editors of Experimental Film

Spirit of Truth (France, 1933)

Le Corbusier

An Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934)

László Moholy-Nagy

Light*Form*Movement*Sound (USA, 1935)

Mary Ellen Bute

Prolegomena for All Future Cinema (France, 1952)

Guy Debord

No More Flat Feet! (France, 1952)

Lettriste International

The Lettristes Disavow the Insulters of Chaplin (France, 1952)

Jean-Isidore Isou, Maurice Lemaître, and Gabriel Pomerand

The Only Dynamic Art (USA, 1953)

Jim Davis

A Statement of Principles (USA, 1961)

Maya Deren

The First Statement of the New American Cinema Group (USA, 1961)

New American Cinema Group

Foundation for the Invention and Creation of Absurd Movies (USA, 1962)

Ron Rice

From Metaphors on Vision (USA, 1963)

Stan Brakhage

Kuchar 8mm Film Manifesto (USA, 1964)

George Kuchar

Film Andepandan [Independents] Manifesto (Japan, 1964)

Takahiko Iimura, Koichiro Ishizaki, et al.

Discontinuous Films (Canada, 1967)

Keewatin Dewdney

Hand-Made Films Manifesto (Australia, 1968)

Ubu Films, Thoms

Cinema Manifesto (Australia, 1971)

Arthur Cantrill and Corinne Cantrill

For a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971)

Hollis Frampton

Elements of the Void (Greece, 1972)

Gregory Markopoulos

Small Gauge Manifesto (USA, 198)

JoAnn Elam and Chuck Kleinhans

Cinema of Transgression Manifesto (USA, 1985)

Nick Zedd

Modern, All Too Modern (USA, 1988)

Keith Sanborn

Open Letter to the Experimental Film Congress: Lets Set the Record Straight (Canada, 1989)

Peggy Ahwesh, Caroline Avery, et al.

Anti-1 Years of Cinema Manifesto (USA, 1996)

Jonas Mekas

The Decalogue (Czech Republic, 1999)

Jan Švankmajer

Your Film Farm Manifesto on Process Cinema (Canada, 212)

Philip Hoffman

2. National and Transnational Cinemas

From “The Glass Eye” (Italy, 1933)

Leo Longanesi

The Archers Manifesto (UK, 1942)

Michael Powell and Emeric Pressburger

What Is Wrong with Indian Films? (India, 1948)

Satyajit Ray

Buñuel the Poet (Mexico, 1951)

Octavio Paz

French Cinema Is Over (France, 1952)

Serge Berna, Guy Debord, et al.

Some Ideas on the Cinema (Italy, 1953)

Cesare Zavattini

A Certain Tendency in French Cinema (France, 1954)

François Truffaut

Salamanca Manifesto and Conclusions of the Congress of Salamanca (Spain, 1955)

Juan Antonio Bardem

Free Cinema Manifestos (UK, 1956–1959)

Committee for Free Cinema

The Oberhausen Manifesto (West Germany, 1962)

Alexander Kluge, Edgar Reitz, et al.

Untitled [Oberhausen 1965] (West Germany, 1965)

Jean-Marie Straub, Rodolf Thome, Dirk Alvermann, et al.

The Mannheim Declaration (West Germany, 1967)

Joseph von Sternberg, Alexander Kluge, et al.

Sitges Manifesto (Spain, 1967)

Manuel Revuelta, Antonio Artero, Joachin Jordà, and Julián Marcos

How to Make a Canadian Film (Canada, 1967)

Guy Glover

How to Not Make a Canadian Film (Canada, 1967)

Claude Jutra

From “The Estates General of the French Cinema, May 1968” (France, 1968)

Thierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz

Manifesto of the New Cinema Movement (India, 1968)

Arun Kaul and Mrinal Sen

What Is to Be Done? (France, 197)

Jean-Luc Godard

The Winnipeg Manifesto (Canada, 1974)

Denys Arcand, Colin Low, Don Shebib, et al.

Hamburg Declaration of German Filmmakers (West Germany, 1979)

Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, et al.

Manifesto I (Denmark, 1984)

Lars von Trier

Manifesto II (Denmark, 1987)

Lars von Trier

Manifesto III: I Confess! (Denmark, 199)

Lars von Trier

The Cinema We Need (Canada, 1985)

R. Bruce Elder

Pathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985)

Ola Balogun

Manifesto of 1988 (German Democratic Republic, 1988)

Young DEFA Filmmakers

In Praise of a Poor Cinema (Scotland, 1993)

Colin McArthur

Dogme 95 Manifesto and Vow of Chastity (Denmark, 1995)

Lars von Trier and Thomas Vinterberg

I Sinema Manifesto (Indonesia, 1999)

Dimas Djayadinigrat, Enison Sinaro, et al.

3. Third Cinemas, Colonialism, Decolonization, and Postcolonialism

Manifesto of the New Cinema Group (Mexico, 1961)

El grupo nuevo cine

Cinema and Underdevelopment (Argentina, 1962)

Fernando Birri

The Aesthetics of Hunger (Brazil, 1965)

Glauber Rocha

For an Imperfect Cinema (Cuba, 1969)

Julio García Espinosa

Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969)

Fernando Solanas and Octavio Getino

Film Makers and the Popular Government Political Manifesto (Chile, 197)

Comité de cine de la unidad popular

Consciousness of a Need (Uruguay, 197)

Mario Handler

Militant Cinema: An Internal Category of Third Cinema (Argentina, 1971)

Octavio Getino and Fernando Solanas

For Colombia 1971: Militancy and Cinema (Colombia, 1971)

Carlos Alvarez

The Cinema: Another Face of Colonised Québec (Canada, 1971)

Association professionnelle des cinéastes du Québec

8 Millimeters versus 8 Millions (Mexico, 1972)

Jaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, et al.

Manifesto of the Palestinian Cinema Group (Palestine, 1973)

Palestinian Cinema Group

Resolutions of the Third World Filmmakers Meeting (Algeria, 1973)

Fernando Birri, Ousmane Sembene, Jorge Silva, et al.

The Luz e Ação Manifesto (Brazil, 1973)

Carlos Diegues, Glauber Rocha, et al.

Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976)

Jorge Sanjinés

Manifesto of the National Front of Cinematographers (Mexico, 1975)

Paul Leduc, Jorge Fons, et al.

The Algiers Charter on African Cinema (Algeria, 1975)

FEPACI (Fédération panafricaine des cinéastes)

Declaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979)

Nicaraguan Institute of Cinema

What Is the Cinema for Us? (Mauritania, 1979)

Med Hondo

Niamey Manifesto of African Filmmakers (Niger, 1982)

FEPACI (Fédération panafricaine des cinéastes)

Black Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983)

John Akomfrah

From 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)

Fernando Birri

FeCAViP Manifesto (France, 199)

Federation of Caribbean Audiovisual Professionals

Final Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 199)

SADCC (South African Development Coordination Conference)

Pocha Manifesto #1 (USA, 1994)

Sandra Peña-Sarmiento

Poor Cinema Manifesto (Cuba, 24)

Humberto Solás

Jollywood Manifesto (Haiti, 28)

Ciné Institute

The Toronto Declaration: No Celebration of Occupation (Canada, 29)

John Greyson, Naomi Klein, et al.

4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos

Womans Place in Photoplay Production (USA, 1914)

Alice Guy-Blaché

Hands Off Love (France, 1927)

Maxime Alexandre, Louis Aragon, et al.

The Perfect Filmic Appositeness of Maria Montez (USA, 1962)

Jack Smith

On Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967)

Yoko Ono

Statement (USA, 1969)

Kenneth Anger

Wet Dream Film Festival Manifesto (The Netherlands, 197)

S.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity)

Womens Cinema as Counter-Cinema (UK, 1973)

Claire Johnston

Manifesto for a Non-sexist Cinema (Canada, 1974)

FECIP (Fédération européenne du cinéma progressiste)

Womanifesto (USA, 1975)

Feminists in the Media

Visual Pleasure and Narrative Cinema (UK, 1975)

Laura Mulvey

An Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977)

Vilgot Sjöman

For the Self-Expression of the Arab Woman (France, 1978)

Heiny Srour, Salma Baccar, and Magda Wassef

Manifesto of the Women Filmmakers (West Germany, 1979)

Verband der Filmarbeiterinnen

Wimmins Fire Brigade Communiqué (Canada, 1982)

Wimmins Fire Brigade

Thoughts on Womens Cinema: Eating Words, Voicing Struggles (USA, 1986)

Yvonne Rainer

The Post Porn Modernist Manifesto (USA, 1989)

Annie Sprinkle, Veronica Vera, et al.

Statement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991)

FEPACI (Fédération panafricaine des cinéastes)

Puzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998)

Vibeke Windeløv, Lene Børglum, et al.

Cinema with Tits (Spain, 1998)

Icíar Bollaín

My Porn Manifesto (France, 22)

Ovidie

No More Mr. Nice Gay: A Manifesto (USA, 29)

Todd Verow

Barefoot Filmmaking Manifesto (UK, 29)

Sally Potter

Dirty Diaries Manifesto (Sweden, 29)

Mia Engberg

5. Militating Hollywood

Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 193)

Motion Picture Producers and Distributors of America

Red Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935)

William Randolph Hearst

Statement of Principles (USA, 1944)

Motion Picture Alliance for the Preservation of American Ideals

Screen Guide for Americans (USA, 1947)

Ayn Rand

White Elephant Art vs. Termite Art (USA, 1962)

Manny Farber

Super Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972)

Kuumba Workshop

The World Is Changing: Some Thoughts on Our Business (USA, 1991)

Jeffrey Katzenberg

Full Frontal Manifesto (USA, 21)

Steven Soderbergh

6. The Creative Treatment of Actuality

Towards a Social Cinema (France, 193)

Jean Vigo

From “First Principles of Documentary” (UK, 1932)

John Grierson

Manifesto on the Documentary Film (UK, 1933)

Oswell Blakeston

Declaration of the Group of Thirty (France, 1953)

Jean Painlevé, Jacques-Yves Cousteau, Alain Resnais, et al.

Initial Statement of the Newsreel (USA, 1967)

New York Newsreel

Nowsreel, or the Potentialities of a Political Cinema (USA, 197)

Robert Kramer, New York Newsreel

Documentary Filmmakers Make Their Case (Poland, 1971)

Bohdan Kosinski, Krzysztof Kieslowski, and Tomasz Zygadlo

The Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989)

Kidlat Tahimik, Stephen Teo, et al.

Minnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999)

Werner Herzog

Defocus Manifesto (Denmark, 2)

Lars von Trier

Kill the Documentary as We Know It (USA, 22)

Jill Godmilow

Ethnographic Cinema (EC): A Manifesto{ths}/{ths}A Provocation (USA, 23)

Jay Ruby

Reality Cinema Manifesto (Russia, 25)

Vitaly Manskiy

Documentary Manifesto (USA, 28)

Albert Maysles

China Independent Film Festival Manifesto: Shamans * Animals (Peoples Republic of China, 211)

By several documentary filmmakers who participated and also who did not participate in the festival

7. States, Dictatorships, the Comintern, and Theocracies

Capture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925)

Willi Münzenberg

The Legion of Decency Pledge (USA, 1938)

Archbishop John McNicholas

Creative Film (Germany, 1935)

Joseph Goebbels

Vigilanti Cura: On Motion Pictures (Vatican City, 1936)

Pope Pius XI

Four Cardinal Points of A Revolução de Maio (Portugal, 1937)

António Lopes Ribeiro

From On the Art of Cinema (North Korea, 1973)

Kim Jong-il

8. Archives, Museums, Festivals, and Cinematheques

A New Source of History: The Creation of a Depository for Historical Cinematography (Poland/France, 1898)

Boleslaw Matuszewski

The Film Prayer (USA, c. 192)

A. P. Hollis

The Film Society (UK, 1925)

Iris Barry

Filmliga Manifesto (The Netherlands, 1927)

Joris Ivens, Henrik Scholte, Menno Ter Bbaak, et al.

Statement of Purposes (USA, 1948)

Amos Vogel, Cinema 16

The Importance of Film Archives (UK, 1948)

Ernest Lindgren

A Plea for a Canadian Film Archive (Canada, 1949)

Hye Bossin

Open Letter to Film-Makers of the World (USA, 1966)

Jonas Mekas

A Declaration from the Committee for the Defense of La Cinémathèque française (France, 1968)

Committee for the Defense of La Cinémathèque française

Filmmakers versus the Museum of Modern Art (USA, 1969)

Hollis Frampton, Ken Jacobs, and Michael Snow

Anthology Film Archives Manifesto (USA, 197)

P. Adams Sitney

Toward an Ethnographic Film Archive (USA, 1971)

Alan Lomax

Brooklyn Babylon Cinema Manifesto (USA, 1998)

Scott Miller Berry and Stephen Kent Jusick

Dont Throw Film Away: The FIAF 7th Anniversary Manifesto (France, 28)

Hisashi Okajima and La fédération internationale des archives du film Manifesto Working Group

The Lindgren Manifesto: The Film Curator of the Future (Italy, 21)

Paolo Cherchi Usai

Film Festival Form: A Manifesto (UK, 212)

Mark Cousins

9. Sounds and Silence

A Statement on Sound (USSR, 1928)

Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov

A Rejection of the Talkies (USA, 1931)

Charlie Chaplin

A Dialogue on Sound: A Manifesto (UK, 1934)

Basil Wright and B. Vivian Braun

Amalfi Manifesto (Italy, 1967)

Michelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, et al.

10. The Digital Revolution

Culture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966)

Stan VanDerBeek

The Digital Revolution and the Future Cinema (Iran, 2)

Samira Makhmalbaf

The Pluginmanifesto (UK, 21)

Ana Kronschnabl

Digital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 23)

Khavn de la Cruz

11. Aesthetics and the Futures of the Cinema

The Birth of the Sixth Art (France, 1911)

Ricciotto Canudo

Memo from Walt Disney to Don Graham (USA, 1935)

Walt Disney

The Birth of a New Avant Garde: La caméra-stylo (France, 1948)

Alexandre Astruc

From Preface to Film (UK, 1954)

Raymond Williams

The Snakeskin (Sweden, 1965)

Ingmar Bergman

Manifesto (Italy, 1965)

Roberto Rossellini, Bernardo Bertolucci, Tinto Brass, et al.

Manifesto on the Release of La Chinoise (France, 1967)

Jean-Luc Godard

Direct Action Cinema Manifesto (USA, 1985)

Rob Nilsson

Remodernist Film Manifesto (USA, 28)

Jesse Richards

The Age of Amateur Cinema Will Return (Peoples Republic of China, 21)

Jia Zhangke

Appendix. What Is a Manifesto Film?

Notes

Acknowledgments of Permissions

Index