INTRODUCTION

Chapters in this book

1. Frontmatter ii
2. CONTENTS v
3. ACKNOWLEDGMENTS xix
4. INTRODUCTION 1
5. 1. THE AVANT-GARDE(S)
6. THE FUTURIST CINEMA (Italy, 1916) 13
7. LENIN DECREE (USSR, 1919) 19
8. THE ABCs OF CINEMA (France, 1917–1921) 20
9. WE: VARIANT OF A MANIFESTO (USSR, 1922) 23
10. THE METHOD OF MAKING WORKERS’ FILMS (USSR, 1925) 27
11. CONSTRUCTIVISM IN THE CINEMA (USSR, 1928) 29
12. PREFACE: UN CHIEN ANDALOU (France, 1928) 31
13. MANIFESTO OF THE SURREALISTS CONCERNING L’AGE D’OR (France, 1930) 31
14. MANIFESTO ON “QUE VIVA MEXICO” (USA, 1933) 38
15. SPIRIT OF TRUTH (France, 1933) 41
16. AN OPEN LETTER TO THE FILM INDUSTRY AND TO ALL WHO ARE INTERESTED IN THE EVOLUTION OF THE GOOD FILM (Hungary, 1934) 44
17. LIGHT*FORM*MOVEMENT *SOUND (USA, 1935) 47
18. PROLEGOMENA FOR ALL FUTURE CINEMA (France, 1952) 49
19. NO MORE FLAT FEET! (France, 1952) 50
20. THE LETTRISTES DISAVOW THE INSULTERS OF CHAPLIN (France, 1952) 51
21. THE ONLY DYNAMIC ART (USA, 1953) 52
22. A STATEMENT OF PRINCIPLES (USA, 1961) 56
23. THE FIRST STATEMENT OF THE NEW AMERICAN CINEMA GROUP (USA, 1961) 58
24. FOUNDATION FOR THE INVENTION AND CREATION OF ABSURD MOVIES (USA, 1962) 61
25. FROM METAPHORS ON VISION (USA, 1963) 62
26. KUCHAR 8mm FILM MANIFESTO (USA, 1964) 69
27. FILM ANDEPANDAN [INDEPENDENTS] MANIFESTO (Japan, 1964) 70
28. DISCONTINUOUS FILMS (Canada, 1967) 72
29. HAND-MADE FILMS MANIFESTO (Australia, 1968) 76
30. CINEMA MANIFESTO (Australia, 1971) 77
31. FOR A METAHISTORY OF FILM: COMMONPLACE NOTES AND HYPOTHESES (USA, 1971) 78
32. ELEMENTS OF THE VOID (Greece, 1972) 86
33. SMALL GAUGE MANIFESTO (USA, 1980) 87
34. CINEMA OF TRANSGRESSION MANIFESTO (USA, 1985) 88
35. MODERN, ALL TOO MODERN (USA, 1988) 89
36. OPEN LETTER TO THE EXPERIMENTAL FILM CONGRESS: LET’S SET THE RECORD STRAIGHT (Canada, 1989) 100
37. ANTI-100 YEARS OF CINEMA MANIFESTO (USA, 1996) 102
38. THE DECALOGUE (Czech Republic, 1999) 103
39. YOUR FILM FARM MANIFESTO ON PROCESS CINEMA (Canada, 2012) 105
40. 2. NATIONAL AND TRANSNATIONAL CINEMAS
41. FROM “THE GLASS EYE” (Italy, 1933) 109
42. THE ARCHERS’ MANIFESTO (UK, 1942) 116
43. WHAT IS WRONG WITH INDIAN FILMS? (India, 1948) 117
44. BUÑUEL THE POET (Mexico, 1951) 120
45. FRENCH CINEMA IS OVER (France, 1952) 123
46. SOME IDEAS ON THE CINEMA (Italy, 1953) 124
47. A CERTAIN TENDENCY IN FRENCH CINEMA (France, 1954) 133
48. SALAMANCA MANIFESTO & CONCLUSIONS OF THE CONGRESS OF SALAMANCA (Spain, 1955) 144
49. FREE CINEMA MANIFESTOS (UK, 1956–1959) 149
50. THE OBERHAUSEN MANIFESTO (West Germany, 1962) 152
51. UNTITLED [OBERHAUSEN 1965] (West Germany, 1965) 153
52. THE MANNHEIM DECLARATION (West Germany, 1967) 154
53. SITGES MANIFESTO (Spain, 1967) 155
54. HOW TO MAKE A CANADIAN FILM (Canada, 1967) 157
55. HOW TO NOT MAKE A CANADIAN FILM (Canada, 1967) 161
56. FROM “THE ESTATES GENERAL OF THE FRENCH CINEMA, MAY 1968” (France, 1968) 162
57. MANIFESTO OF THE NEW CINEMA MOVEMENT (India, 1968) 165
58. WHAT IS TO BE DONE? (France, 1970) 169
59. THE WINNIPEG MANIFESTO (Canada, 1974) 170
60. HAMBURG DECLARATION OF GERMAN FILMMAKERS (West Germany, 1979) 172
61. MANIFESTO I (Denmark, 1984) 173
62. MANIFESTO II (Denmark, 1987) 174
63. MANIFESTO III: I CONFESS! (Denmark, 1990) 174
64. THE CINEMA WE NEED (Canada, 1985) 176
65. PATHWAYS TO THE ESTABLISHMENT OF A NIGERIAN FILM INDUSTRY (Nigeria, 1985) 183
66. MANIFESTO OF 1988 (German Democratic Republic, 1988) 192
67. IN PRAISE OF A POOR CINEMA (Scotland, 1993) 194
68. DOGME ’95 MANIFESTO AND VOW OF CHASTITY (Denmark, 1995) 201
69. I SINEMA MANIFESTO (Indonesia, 1999) 203
70. 3. THIRD CINEMAS, COLONIALISM, DECOLONIZATION, AND POSTCOLONIALISM
71. MANIFESTO OF THE NEW CINEMA GROUP (Mexico, 1961) 207
72. CINEMA AND UNDERDEVELOPMENT (Argentina, 1962) 211
73. THE AESTHETICS OF HUNGER (Brazil, 1965) 218
74. FOR AN IMPERFECT CINEMA (Cuba, 1969) 220
75. TOWARDS A THIRD CINEMA: NOTES AND EXPERIENCES FOR THE DEVELOPMENT OF A CINEMA OF LIBERATION IN THE THIRD WORLD (Argentina, 1969) 230
76. FILM MAKERS AND THE POPULAR GOVERNMENT POLITICAL MANIFESTO (Chile, 1970) 250
77. CONSCIOUSNESS OF A NEED (Uruguay, 1970) 253
78. MILITANT CINEMA: AN INTERNAL CATEGORY OF THIRD CINEMA (Argentina, 1971) 256
79. FOR COLOMBIA 1971: MILITANCY AND CINEMA (Colombia, 1971) 258
80. THE CINEMA: ANOTHER FACE OF COLONISED QUÉBEC (Canada, 1971) 264
81. 8 MILLIMETERS VERSUS 8 MILLIONS (Mexico, 1972) 272
82. MANIFESTO OF THE PALESTINIAN CINEMA GROUP (Palestine, 1973) 273
83. RESOLUTIONS OF THE THIRD WORLD FILMMAKERS MEETING (Algeria, 1973) 275
84. THE LUZ E AÇÃO MANIFESTO (Brazil, 1973) 284
85. PROBLEMS OF FORM AND CONTENT IN REVOLUTIONARY CINEMA (Bolivia, 1976) 286
86. MANIFESTO OF THE NATIONAL FRONT OF CINEMATOGRAPHERS (Mexico, 1975) 294
87. THE ALGIERS CHARTER ON AFRICAN CINEMA (Algeria, 1975) 296
88. DECLARATION OF PRINCIPLES AND GOALS OF THE NICARAGUAN INSTITUTE OF CINEMA (Nicaragua, 1979) 298
89. WHAT IS THE CINEMA FOR US? (Mauritania, 1979) 300
90. NIAMEY MANIFESTO OF AFRICAN FILMMAKERS (Niger, 1982) 303
91. BLACK INDEPENDENT FILMMAKING: A STATEMENT BY THE BLACK AUDIO FILM COLLECTIVE (UK, 1983) 307
92. 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) 309
93. FeCAViP MANIFESTO (France, 1990) 312
94. FINAL COMMUNIQUE OF THE FIRST FRONTLINE FILM FESTIVAL AND WORKSHOP (Zimbabwe, 1990) 313
95. POCHA MANIFESTO #1 (USA, 1994) 316
96. POOR CINEMA MANIFESTO (Cuba, 2004) 318
97. JOLLYWOOD MANIFESTO (Haiti, 2008) 320
98. THE TORONTO DECLARATION: NO CELEBRATION OF OCCUPATION (Canada, 2009) 321
99. 4. GENDER, FEMINIST, QUEER, SEXUALITY, AND PORN MANIFESTOS
100. WOMAN’S PLACE IN PHOTOPLAY PRODUCTION (USA, 1914) 325
101. HANDS OFF LOVE (France, 1927) 330
102. THE PERFECT FILMIC APPOSITENESS OF MARIA MONTEZ (USA, 1962) 336
103. ON FILM NO. 4 (IN TAKING THE BOTTOMS OF 365 SAINTS OF OUR TIME) (UK, 1967) 344
104. STATEMENT (USA, 1969) 346
105. WET DREAM FILM FESTIVAL MANIFESTO (The Netherlands, 1970) 346
106. WOMEN’S CINEMA AS COUNTERCINEMA (UK, 1973) 347
107. MANIFESTO FOR A NON-SEXIST CINEMA (Canada, 1974) 356
108. WOMANIFESTO (USA, 1975) 359
109. VISUAL PLEASURE AND NARRATIVE CINEMA (UK, 1975) 359
110. AN EGRET IN THE PORNO SWAMP: NOTES OF SEX IN THE CINEMA (Sweden, 1977) 370
111. FOR THE SELF-EXPRESSION OF THE ARAB WOMAN (France, 1978) 375
112. MANIFESTO OF THE WOMEN FILMMAKERS (West Germany, 1979) 376
113. WIMMIN’S FIRE BRIGADE COMMUNIQUÉ (Canada, 1982) 377
114. THOUGHTS ON WOMEN’S CINEMA: EATING WORDS, VOICING STRUGGLES (USA, 1986) 378
115. THE POST PORN MODERNIST MANIFESTO (USA, 1989) 382
116. STATEMENT OF AFRICAN WOMEN PROFESSIONALS OF CINEMA, TELEVISION AND VIDEO (Burkina Faso, 1991) 383
117. PUZZY POWER MANIFESTO: THOUGHTS ON WOMEN AND PORNOGRAPHY (Denmark, 1998) 385
118. CINEMA WITH TITS (Spain, 1998) 388
119. MY PORN MANIFESTO (France, 2002) 390
120. NO MORE MR. NICE GAY: A MANIFESTO (USA, 2009) 392
121. BAREFOOT FILMMAKING MANIFESTO (UK, 2009) 396
122. DIRTY DIARIES MANIFESTO (Sweden, 2009) 397
123. 5. MILITATING HOLLYWOOD
124. CODE TO GOVERN THE MAKING OF TALKING, SYNCHRONIZED AND SILENT MOTION PICTURES (MOTION PICTURE PRODUCTION CODE) (USA, 1930) 403
125. RED FILMS: SOVIETS SPREADING DOCTRINE IN U.S. THEATRES (USA, 1935) 417
126. STATEMENT OF PRINCIPLES (USA, 1944) 420
127. SCREEN GUIDE FOR AMERICANS (USA, 1947) 422
128. WHITE ELEPHANT ART VS. TERMITE ART (USA, 1962) 432
129. SUPER FLY: A SUMMARY OF OBJECTIONS BY THE KUUMBA WORKSHOP (USA, 1972) 440
130. FULL FRONTAL MANIFESTO (USA, 2001) 441
131. 6. THE CREATIVE TREATMENT OF ACTUALITY
132. TOWARDS A SOCIAL CINEMA (France, 1930) 445
133. FROM “FIRST PRINCIPLES OF DOCUMENTARY” (UK, 1932) 453
134. MANIFESTO ON THE DOCUMENTARY FILM (UK, 1933) 460
135. DECLARATION OF THE GROUP OF THIRTY (France, 1953) 461
136. INITIAL STATEMENT OF THE NEWSREEL (USA, 1967) 462
137. NOWSREEL, OR THE POTENTIALITIES OF A POLITICAL CINEMA (USA, 1970) 463
138. DOCUMENTARY FILMMAKERS MAKE THEIR CASE (Poland, 1971) 464
139. THE ASIAN FILMMAKERS AT YAMAGATA YIDFF MANIFESTO (Japan, 1989) 469
140. MINNESOTA DECLARATION: TRUTH AND FACT IN DOCUMENTARY CINEMA (Germany, 1999) 471
141. DEFOCUS MANIFESTO (Denmark, 2000) 472
142. KILL THE DOCUMENTARY AS WE KNOW IT (USA, 2002) 473
143. ETHNOGRAPHIC CINEMA (EC): A MANIFESTO / A PROVOCATION (USA, 2003) 476
144. REALITY CINEMA MANIFESTO (Russia, 2005) 478
145. DOCUMENTARY MANIFESTO (USA, 2008) 479
146. CHINA INDEPENDENT FILM FESTIVAL MANIFESTO: SHAMANS * ANIMALS (People’s Republic of China, 2011) 480
147. 7. STATES, DICTATORSHIPS, THE COMINTERN, AND THEOCRACIES
148. CAPTURE THE FILM! HINTS ON THE USE OF, OUT OF THE USE OF, PROLETARIAN FILM PROPAGANDA (USA, 1925) 487
149. THE LEGION OF DECENCY PLEDGE (USA, 1934) 492
150. CREATIVE FILM (Germany, 1935) 493
151. VIGILANTI CURA: ON MOTION PICTURES (Vatican City, 1936) 495
152. FOUR CARDINAL POINTS OF A REVOLUÇÃO DE MAIO (Portugal, 1937) 505
153. FROM ON THE ART OF CINEMA (North Korea, 1973) 506
154. 8. ARCHIVES, MUSEUMS, FESTIVALS, AND CINEMATHEQUES
155. A NEW SOURCE OF HISTORY: THE CREATION OF A DEPOSITORY FOR HISTORICAL CINEMATOGRAPHY (Poland/France, 1898) 517
156. THE FILM PRAYER (USA, c. 1920) 523
157. THE FILM SOCIETY (UK, 1925) 524
158. FILMLIGA MANIFESTO (The Netherlands, 1927) 525
159. STATEMENT OF PURPOSES (USA, 1948) 527
160. THE IMPORTANCE OF FILM ARCHIVES (UK, 1948) 529
161. A PLEA FOR A CANADIAN FILM ARCHIVE (Canada, 1949) 533
162. OPEN LETTER TO FILM-MAKERS OF THE WORLD (USA, 1966) 534
163. A DECLARATION FROM THE COMMITTEE FOR THE DEFENSE OF LA CINÉMATHÈQUE FRANÇAISE (France, 1968) 539
164. FILMMAKERS VERSUS THE MUSEUM OF MODERN ART (USA, 1969) 540
165. ANTHOLOGY FILM ARCHIVES MANIFESTO (USA, 1970) 543
166. TOWARD AN ETHNOGRAPHIC FILM ARCHIVE (USA, 1971) 544
167. BROOKLYN BABYLON CINEMA MANIFESTO (USA, 1998) 555
168. DON’T THROW FILM AWAY: THE FIAF 70th ANNIVERSARY MANIFESTO (France, 2008) 556
169. THE LINDGREN MANIFESTO: THE FILM CURATOR OF THE FUTURE (Italy, 2010) 558
170. FILM FESTIVAL FORM: A MANIFESTO (UK, 2012) 559
171. 9. SOUNDS AND SILENCE
172. A STATEMENT ON SOUND (USSR, 1928) 565
173. A REJECTION OF THE TALKIES (USA, 1931) 568
174. A DIALOGUE ON SOUND: A MANIFESTO (UK, 1934) 570
175. AMALFI MANIFESTO (Italy, 1967) 572
176. 10. THE DIGITAL REVOLUTION
177. CULTURE: INTERCOM AND EXPANDED CINEMA: A PROPOSAL AND MANIFESTO (USA, 1966) 575
178. THE DIGITAL REVOLUTION AND THE FUTURE CINEMA (Iran, 2000) 580
179. THE PLUGINMANIFESTO (UK, 2001) 586
180. DIGITAL DEKALOGO: A MANIFESTO FOR A FILMLESS PHILIPPINES (The Philippines, 2003) 588
181. 11. AESTHETICS AND THE FUTURES OF THE CINEMA
182. THE BIRTH OF THE SIXTH ART (France, 1911) 593
183. THE BIRTH OF A NEW AVANT GARDE: LA CAMÉRA-STYLO (France, 1948) 603
184. FROM PREFACE TO FILM (UK, 1954) 607
185. THE SNAKESKIN (Sweden, 1965) 614
186. MANIFESTO (Italy, 1965) 616
187. MANIFESTO ON THE RELEASE OF LA CHINOISE (France, 1967) 618
188. DIRECT ACTION CINEMA MANIFESTO (USA, 1985) 618
189. REMODERNIST FILM MANIFESTO (USA, 2008) 619
190. THE AGE OF AMATEUR CINEMA WILL RETURN (People’s Republic of China, 2010) 622
191. APPENDIX 625
192. NOTES 629
193. ACKNOWLEDGMENTS OF PERMISSIONS 635
194. INDEX 641