Index
Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
access: access-to-quality ratio, 21, 24, 43–45, 53, 79–80, 85, 93, 170; as democratic principle, 6, 13, 39–40, 60, 88, 138, 236 (see also rental model of distribution: ethos of access and)
Adorno, Theodor, 51, 125, 187–89, 243n54
After Walker Evans (Levine), 124
Agamben, Giorgio, 11
Agrippa (Book of the Dead) (Gibson), 5, 237n4
Akomfrah, John, 220
Alan, Charles, 135
Alan Gallery, 135
Alfaro, Kristen, 76
allographic art, 23, 179–84
al-Shaikh, Wasif, 111
Altman, Rick, 181
Amor cinema, 209–11, 213–15. See also site specific projection: and purpose-built architecture; Temenos
A MOVIE (Conner), 135–36, 158
Anderson, Benedict, 122
Anderson, Chris, 61–62, 68, 245n30
Andrew, Dudley, 72
Anemic Cinema (Duchamp), 127
Angela Flowers Gallery, 148
Anger, Kenneth, 148, 155, 157, 227, 246–47n53, 259n59, 261n83
Anthology Film Archives, 75–76, 79, 91, 196, 259n57; Essential Cinema collection, 75–76, 248n81; and repeat viewing, 76
Antin, David, 222
Anywhere, Anywhere, Out of the World (Parreno), 1, 3
appropriation, 108–24
Aranda, Julieta, 77–78
artmark. See ®™ark
Arnatt, Keith, 223
Art Basel, 150, 157
Artist’s Dilemma, The (Edison), 35–37, 41, 173
Artist’s Dream, An (Edison), 35–36, 41, 173
artist’s proof, 128, 134, 150, 157, 162–64, 256n8
Asclepieia, 208, 216
Asclepius, 208–9, 216; temples to (see Asclepieia)
Aspen (magazine), 62
Asphalt Jungle, The (Huston), 95
Astruc, Alexandre, 61–62, 68
Atkins, Ed, 220
Attali, Jacques, 184–85
Augustijnen, Sven, 219
Auslander, Philip, 176, 178, 263n14
Austrian Film Museum, 198–99, 212, 266n12
authenticity, 25–53; Adorno on, 51, 125, 187–89, 265nn37–39; Benjamin on, 125, 175, 265n37; certificate of (see certificate of authenticity); as moral value, 28, 42, 48, 174, 235
autographic art, 23, 180
Auto-Kino! (Collins), 101
Barbara Gladstone Gallery, 149–50, 156–57
Barbrook, Richard, 89, 250n15
Barlow, John Perry, 96, 107–8
Barney, Matthew, 149–50, 154, 161, 256n10, 262n90
Baron, Jamie, 110
Barthes, Roland, 74
Bartleby the Scrivener (Melville), 27
Batchen, Geoffrey, 4
Baudelaire, Charles, 33–34
Baumbach, Noah, 48
Beavers, Robert, 141–43, 192, 197, 199–200, 204–6, 209, 211–12, 214, 217–18, 266n13
Beebe, Roger, 17
Belgian Politician, A (Tuymans), 108
Bellini, Andrea, 233
Bellour, Raymond, 3, 73–74
Benjamin, Walter, 29, 38, 41, 43, 45–46, 125, 133, 173, 175, 187, 265n37
Bertellini, Giorgio, 114
Beuys, Joseph, 145, 259n51, 270n34
Bishop, Claire, 52
BitTorrent, 7, 77, 96, 162
Black Audio Film Collective, 225
Black Gate Cologne (Tambellini and Piene), 222
Black Imp, The (Méliès), 35, 241n19
Blanche Neige Lucie (Huyghe), 109
Blas, Zach, 191
Blue Moses (Brakhage), 224
Boltanski, Luc, 28, 38, 240n7
Bonaspetti, Eduoardo, 219, 230, 232
bootlegging, See piracy
Bourdieu, Pierre, 8
Bourriaud, Nicolas, 109–10
Brakhage, Stan, 20–21, 44, 55, 58–69, 72–77, 79, 94, 141–42, 213, 223–24, 231, 244n15, 244nn17–18, 245n26, 247n64, 249n85
BREAKAWAY (Conner), 158
Brecht, Bertolt: on radio, 221
Breitz, Candice, 163
broadcasting. See television broadcasting
Brookey, Robert Alan, 114, 254n17
Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe) (McElheny), 84
Buchloh, Benjamin, 139
Buñuel, Luis, 73–74, 127
Burden, Chris, 223
Burty, Philippe, 132–33
Buskirk, Martha, 100–101, 108
Cage, John, 185
Callenbach, Ernest, 56
Canadian Filmmakers’ Distribution Centre, 104
Canal Zone (Prince), 108
Canudo, Ricciotto, 34
Canyon Cinema, 13–14, 19, 54, 68, 92, 104, 136–37, 158, 220, 232, 253n43, 257n28
Cardazzo, Paolo, 143
Cariou, Patrick, 108
Carroll, Steve, 233
Carroll/Fletcher Gallery, 233
Carroll/Fletcher Onscreen, 233
Casetti, Francesco, 3, 176, 214
Castaing-Taylor, Lucien, 181
Castelli, Leo, 146–48, 151, 153, 259nn54–57. See also Leo Castelli Gallery
Castelli-Sonnabend Tapes and Films Inc., 146–48, 151, 259nn54–57
Cattelan, Maurizio, 158
Cates, Phillip Dennis, 133
Celant, Germano, 37, 39, 193, 220, 235
censorship, 69–72, 205, 247n58; Comstock Act, 63; of Flaming Creatures, 69; of The Illiac Passion, 204–5; Mekas on, 69–70, 246–47n53; obscene material and, 63, 69–71, 224, 246–47n53; pornography and, 77; of Scorpio Rising, 246–47n53; of Un chant d’amour, 69
censorship, legal cases regarding: New York v. Ferber, 77; Stanley v. Georgia, 71–72
Center for Visual Music, 156
Center Jenny (Trecartin), 231
Centre Pompidou, 2, 100, 199
Cerberus (Markopoulos), 200
certificate of authenticity, 129, 139–41, 158, 162, 165
Chahine, Youssef, 113
Channel 4 (UK), 224–25, 229; 1990 Broadcasting Act and, 229; Independent Film and Video Department of, 225
Chaplin, Charlie, 30–31, 74
Chateigné, Yann, 234
Cherchi Usai, Paolo, 23, 168–91, 212–13, 235, 263n5
Chiapello, Ève, 28, 38, 240n7
China (Thater), 154
Christmas Carol, A (Dickens), 27, 240n3
C.H.Z. (Parreno), 3, 5–6
Cinema 16, 12, 19, 60, 136–37, 195–96; Film Library, 195
Cinéma Liberté / Bar Lounge (Gordon and Tiravanija), 101
cinema of adhesion, 214
Circles, 8
circulatory reproducibility, 5–6, 9, 20, 27, 48, 215. See also referential reproducibility
Claerbout, David, 140
Classic Film Collector magazine (8mm Collector), 74
Clock, The (Marclay), 7, 110, 130, 176
Clouds (Gidal), 85, 93–94
Cohen, Charles S., 14
Collins, Phil, 101
Conner, Bruce, 20, 55, 60, 67–68, 72, 75, 91–92, 135–37, 157–62, 246n36, 253n45, 257n26, 261n85
Conner Family Trust, 157, 161
Connolly, Maeve, 101–2, 229
Conrad, Tony, 96
Contemporary Art Television Fund, 76
Cook, Benjamin, 93–95, 163–64
cooperatives. See Canyon Cinema; London Film-Makers’ Co-operative; New York Film-makers’ Cooperative; rental model of distribution
copyright, 106–24; artistic reuse and, 108–10 (see also appropriation); copy rite and, 9, 107; digital copies and, 21, 22, 43, 46–49, 89, 91, 107–8, 111; fair use and (see fair use); in Jordan, 111–26 (see also piracy: in Jordan; copyright law: Jordanian); limited editions and, 109, 143, 151, 158, 165; moral rights and, 92–96 (see also moral rights of the author); public domain and (see public domain)
copyright law: American, 116–20; Berne Convention, 94–95, 118, 251n27; Digital Millennium Copyright Act (1998), 107; Jordanian, 111, 116–20; rigidification of, 21, 107; United States Trade Representatives (USTR) watch list, 119
Cornell, Joseph, 127
COSMIC RAY (Conner), 157
Cremaster Cycle (Barney), 150, 154, 161, 256n10, 262n90
Crimp, Douglas, 10
CROSSROADS (Conner), 158, 160
cultural commons, 22, 110, 115, 120. See also public domain
curation, 18, 77, 85–105, 160, 162, 219, 230–34; as creative practice, 85–101; of online streaming platforms, 230–34 (see specific curated online streaming platforms); responsibilities of, 100–105
Curtis, David, 85, 147–48, 226
cycle form in experimental film, 213–15
Daata Editions, 164
Daniels, Dieter, 154
David Zwirner Gallery, 149–50, 162
Dean, Tacita, 98
Death of Empedocles, The (Straub and Huillet), 38
Decasia (Morrison), 170, 186
Decherney, Peter, 20
Declarations of Authenticity (Manzoni), 140
Decline of the West (Spengler), 194
Delpeut, Peter, 186
de Menil, John and Dominique, 210
Denby, David, 183
Departure for Work (Millet), 132
de Saint Phalle, Niki, 210
Desistfilm (Brakhage), 224
Dickens, Charles, 27, 240n3
digital rights management, 5, 107. See also copyright: digital copies and
digital transfers of photochemical film and videotape, 90, 97–98, 104, 114, 159
DINAMO. See Distribution Network of Artists’ Moving Image Organizations
Disney Corporation, 109
distracted spectatorship, 24, 72, 102, 209, 232, 254n17
Distribution Network of Artists’ Moving Image Organizations (DINAMO), 16
Doane, Mary Anne, 37, 99
Documenta IX, 152
Dog Day Afternoon (Lumet), 109
Dog Star Man (Brakhage), 213
Dolène, Lucie, 109
Donald Young Gallery, 150
Double Negative (Heizer), 215
Douglas, Stan, 149, 150, 154, 162, 260n74
Dream Displacement (Sharits), 156
Duchamp, Marcel, 39, 100, 127, 139, 255–56n3
Dürer, Albrecht, 131
DVDs: director’s commentary track, 113–16, 120, 123–24, 126, 254n17; disposable, 4–6, 25, 238n5; limited edition (see limited edition: DVDs); mass market, 54, 77, 90–92, 154, 162; pirated, 113–20, 151, 162; small label, 77–78, 158
Eamon, Christopher, 152
EASTER MORNING (Conner), 157
EASTER MORNING RAGA (Conner), 157
Eastman Kodak. See Kodak
Edison, Thomas, 35, 37, 40–41, 46, 54–55, 74, 173; Kinetoscope, 54, 55
Éditions Multiplication d’Art Transformable (Éditions MAT), 39
E-Flux Video Rental (Vidokle and Aranda), 77–78
Ehrenstein, David, 212
8 mm reduction prints, 20–21, 44, 54–80, 136–38, 196, 231, 245n26. See also Grove Press; Lovemaking (Brakhage)
Electronic Arts Intermix (EAI), 13–14, 96, 105, 147, 153, 155, 220, 252n32
Electronic Frontier Foundation, 107
Eleventh Hour, The (Channel 4), 225
Elkins, James, 32
Elsaesser, Thomas, 26
Emmer, Luciano, 62
Endlessly Repeating Twentieth Century Modernism (McElheny), 84
Eniaios (Markopoulos), 23, 171, 192, 202, 211–17, 268n6, 268n51. See also Temenos
Ernst, Wolfgang, 87
Espinosa, Julio García, 44–45, 47
Euripides, 210
EVE-RAY-FOREVER (Conner), 157, 160
Existence is Song (Brakhage), 79
Eye Myth (Brakhage), 73, 94, 223–24
Eye Myth Educational (Brakhage), 73, 224
fair use, 22, 24, 96, 118–19. See also public domain
Fandor, 104, 242, 253n43
Farocki, Harun, 155
Faust legend, 35–36
festivals, 16, 18–19, 138, 148, 219, 230–32
Festspielhaus, 201–2
Fetveit, Arild, 99
Filé de Peixe, 78
Film Classic Exchange, 74
Film Society of New York, 127
Filz-TV (Beuys), 145, 250n51
Fischinger, Oskar, 156
Flaming Creatures (Smith), 69
Flavin, Dan, 140
Flory, John, 56
Flusser, Vilém, 214
Fluxus, 60, 138; Fluxboxes, 60, 138; Fluxfilms, 138
Fondation Cartier, 158
Ford, Sam, 10
Foster, Hal, 10, 84–85
4’33” (Cage), 185
Frameworks listserv, 92–93, 96, 104, 252n32, 256–57n12
Frampton, Hollis, 168, 213, 223
Gaines, Jane, 92
Galaxie (Markopoulos), 61
Galloway, Alex, 190
Galt, Rosalind, 123
Genet, Jean, 69, 71
Gerstner, Karl, 144
Ghertsos, Athanase, 198, 210
Gibson, Sandra, 183
Gibson, William, 5
Gidal, Peter, 85, 93–95
gift economy, 89, 217, 250n17
Gilbert and George, 145, 259n51
Gilmore, James H., 49, 51, 52
Gimpel, René, 141–43
Gimpel Fils Gallery, 141–43, 196
Gimpel Weitzenhoffer Gallery, 142
Gioni, Massimiliano, 158
Givaudan, Claude, 141
Glass, Loren, 66–67
Godard, Jean-Luc, 100
Goh, Irving, 190
Goldsmith, Kenneth, 8, 81, 85–87, 93, 104, 249n6, 250n7, 252n32
Goldstein, Paul, 49
Goodman, Nelson, 23, 180, 182–84
Google, 46, 88, 250n; Art Project, 88, 250n12
Gordon, Douglas, 100–101, 149, 160n74, 162, 254–55n13
Gosling, Nigel, 142
Gough, Maria, 38
Graw, Isabelle, 131
Green, Joshua, 10
Grove Press, 21, 59–69, 71, 77, 195; Evergreen Book Club, 59, 61, 66; The Evergreen Club News, 59, 64–65; Evergreen Review, 66; and Lovemaking, 59–69, 77
Guggenheim Museum, 2
Gunning, Lucy, 150, 154, 161n90
Habermas, Jürgen, 84
Habib, André, 186
Halter, Ed, 181
Hamilton, Ann, 150
Hamudeh DVD, 116–17. See also piracy: in Jordan
HangarBicocca, 2, 232
Hanhardt, John, 199
Hansen, Miriam, 39
Hapax Legomena (Frampton), 213
Hapsburg, Otto von, 198
Hartman, Geoffrey, 31
Hediger, Vinzenz, 73
Heidegger, Martin, 187–88
Hein, Birgit, 141–42, 196
Hein, Karlheinz, 196
Hein, Wilhelm, 141–42, 196
Heiser, Jörg, 12
Henrot, Camille, 220, 231
Hippolytus myth, 210
Hitchcock, Alfred, 73, 100, 144
Hoet, Jan de, 152
Höke, Bernard, 143
Horowitz, Noah, 150
Hors champ (Douglas), 150
Horwatt, Eli, 111
Host and the Cloud, The (Huyghe), 231
How Not to Be Seen: A Fucking Didactic Educational .MOV File (Steyerl), 191
Huyghe, Pierre, 106, 109, 154, 159, 231
Huillet, Danièle, 38
Huston, John, 95
Identifications (Schum), 144–45, 222, 235, 270n32
I Do Not Know What It Is I Am Like (Viola), 76
Illiac Passion, The (Markopoulos), 204–6
Inauguration of the Pleasure Dome (Anger), 157
Ingres, Jean-Auguste-Dominique, 34
Invisible Film (Ohanian), 184
iTunes, 49, 105
Jack Wendler Gallery, 148
Jacobs, Ken, 183
James, David, 58
Jameson, Fredric, 36
Jarman, Derek, 227
Jay, Martin, 125
Jenkins, Henry, 10, 11, 43
Joannou, Dakis, 210; Skin Fruit exhibition, 152
Jonas, Joan, 147
Jordan, Larry, 15, 18, 148, 164
Joselit, David, 106–7, 125
Julien, Isaac, 155
Kaleidoscope, 233–34
Kaleidoscope Videoclub, 233–34
Karagarga, 77, 162
Kentridge, William, 150
Kittler, Friedrich, 99
Klein, Yves, 139–40
Klinger, Barbara, 116
Kodak, 56–57, 170; Cinegraph, 55
Konsumkunst-Kunstkonsum (Schum, Weitemeier, and Höke), 143, 145–46
Koons, Jeff, 108, 210
Kops, Bernard, 103
Kracauer, Siegfried, 174
Kramlich, Pamela and Richard, 129, 152
Krauss, Rosalind, 10, 132–33
Kren, Kurt, 142, 196
Kronhausen, Eberhard and Phyllis, 64
Kubelka, Peter, 73, 79, 91–92, 141, 201; Invisible Cinema project, 79, 201
Land Art (Schum), 144, 235, 270n32
Larcher, David, 167
Last Judgment, The (Castaing-Taylor and Paravel), 181
Late and Soon: Occident Trotting (Thater), 150
Latour, Bruno, 88, 124
Lawder, Standish, 85
Lebon, Élisabeth, 132, 133
Leo Castelli Gallery, 147, 259n57, 359n54
Le Grice, Malcolm, 196
Les demoiselles d’Avignon (Picasso), 32
Lessig, Lawrence, 118
Les voix du silence (Malraux), 88
Levine, Sherrie, 124
Levy, Julien, 127–28, 130, 135, 255–56n3
L.H.O.O.Q. (Duchamp), 100, 139
Light Cone, 14
limited edition: artificial scarcity and, 23, 98, 107, 129, 131, 133–34, 138–39, 147, 154–55, 161; benefits of, 153–56; certification (see certificate of authenticity); contemporary dominance of, 128; copyright and, 109–10; criticism of, 153–56; DVDs, 50, 154–55, 162; film prints, 54, 127–28, 130, 141–49, 151; institutional endorsement of, 151–52; market viability of, 22, 52, 158; model of distribution, 127–65, 220, 234–35, 247n61, 256–57n12, 257n75, 259n55, 259n59, 270n34; origins in sculpture and printmaking, 22, 130–35, 147, 151; preservation, 155–57, 161; videotapes, 146–48, 151
Lisson Gallery, 148
live cinema, 166–89
live film performance. See live cinema
Lobato, Ramon, 18, 95, 120
London Film-makers’ Co-operative, 13, 137, 163, 239n21
London Video Arts, 13, 239n21
LOOKING FOR MUSHROOMS (Conner), 158
Lord, Rose, 151
Lovemaking (Brakhage), 21, 59–69, 71, 77, 231
Lowe, Adam, 88, 124
Lumet, Sidney, 109
Lütticken, Sven, 162
LUX, 13–17, 91, 93–94, 104–5, 127, 163–64, 232, 235, 239n21, 253n44, 258n29
LUX Centre, 91, 163
LUXplayer, 105, 232
Lyrical Nitrate (Delpeut), 186
Lyssaraia, Greece, 203–304, 206, 209, 216
MacDonald, Scott, 224
Machine of Eden, The (Brakhage), 224
Mack, Heinz, 144
Madanat, Adnan, 112–14, 120
Magellan (Frampton), 213
Malraux, André, 87–89; musée imaginaire, 87–88
Manzoni, Piero, 140
Marclay, Christian, 7, 110, 130, 176
Marian Goodman Gallery, 149, 151, 154
Marilyn (Parreno), 3, 5, 6
Markopoulos, Gregory, 23, 61, 63, 141–43, 148, 167, 171, 192–218, 266n13, 266n16
Marquees (Parreno), 2
Marty, André, 133; L’estampe originale, 133
Matters in Media Art initiative, 165
McCall, Anthony, 155
McClure, Bruce, 183
McElheny, Josiah, 21, 82–104
McLean, Daniel, 108
McLuhan, Marshall, 209
Medium is the Medium, The (WGBH Boston), 223
Meier, Dieter, 142, 195–96
Mekas, Jonas, 20, 40, 43, 55, 57, 59, 67–71, 75
Méliès, Georges, 35
Melot, Michel, 132–33
Melville, Herman, 27
Metropolitan Museum of Art (New York), 157, 260n69
Michael Kohn Gallery, 157–58
Midnight Underground (Channel 4), 24, 225–32
Millet, Jean-François, 132–33
mimetic contagion, 29, 33–34, 174
Ming Green (Markopoulos), 61
Misek, Richard, 110
Mitchell, W. J. T., 174
Moatti, Christiane, 88
Modern Times (Chaplin), 30, 31
Moholy-Nagy, Laszlo, 62
Monsieur Malaussène (Pennac), 166–68, 179, 189
Montevideo, 13
moral rights of the author, 21, 24, 81, 92, 93–97, 220, 236, 251n27
Morris, Robert, 62, 140, 146
Morrison, Bill, 170
Mothlight (Brakhage), 224
Motion Picture Association of America, 116, 151
Moulin, Raymonde, 138
Mousse (magazine), 219, 230, 232–33
Movie-Drome (VanDerBeek), 201
Muehl, Otto, 196
Mullarkey, John, 75
Müller, Matthias, 155
Museum of Modern Art (New York), 74, 136–37, 150 152, 157–58, 198; Department of Film and Video of, 150
narrowcasting, 24, 220, 229, 233–36
National Gallery (Athens), 204–6
Nature of Our Looking, The (Gilbert and George), 145
Nauman, Bruce, 146, 149, 154
Nead, Lynda, 36
Nelson, Robert, 13
Netherlands Media Art Institute, 13, 14
New American Cinema, 12, 56, 78, 194, 196, 199
New “Old Master” Machine, The (Wieland), 41
New York Film-makers’ Cooperative, 13–14, 54, 57, 67, 92, 104, 137–38, 163, 195–96, 232, 241n30, 258n29, 259n57
New York v. Ferber, 77
Nichols, Bill, 121
Nigel Greenwood Gallery, 148
Night Music (Brakhage), 94
Nowell-Smith, Geoffrey, 18
Obrist, Hans Ulrich, 234
Of Mice and Men (2006 Berlin Biennale), 158
Ohanian, Melik, 167, 184
Onassis, Aristotle, 198
One Man Band (Méliès), 35
online streaming, 6, 164, 219, 229, 262n90; curated platforms (see Carroll/Fletcher Onscreen; Fandor; Kaleidoscope Videoclub; LUXplayer; UbuWeb; VDB TV; Vdrome); uncurated platforms (see Vimeo; YouTube)
Osterweil, Ara, 63
Overture (Douglas), 154
Paik, Nam June, 185
Palais de Tokyo, 1–5
Panofsky, Erwin, 131
Papastamou, Dimitris, 204–5
paradigm of repeating, 184
paradigm of representing, 184–85
Paravel, Véréna, 181
Parreno, Philippe, 1–7, 11, 25, 220
Parsifal (Wagner), 202
Pärt, Arvo, 169, 178
Passio (Cherchi Usai), 23, 168–91, 212–13, 235
Past Was a Mirage I’d Left Far Behind, The (McElheny), 21, 82–104
Pathé, 44, 54; Pathescope, 55
patronage, 197–98, 202, 210, 217; corporate sponsorship, 204; Kickstarter, 217–18; private, 197–98, 202, 210, 217; state sponsorship, 112
Pennac, Daniel, 166–68, 179, 1
Peripheral Vision (Russell), 101
permissions: and curated streaming platforms, 104; and illegal downloading, 96; and limited editions, 130, 160–61; and moral rights of the author, 24, 47, 82, 93–94; The Past Was a Mirage I’d Left Far Behind, 21, 93–94; UbuWeb, 21, 86–87, 92, 96, 104, 220
Phelan, Peggy, 177–79, 187
Picasso, Pablo, 32
Piene, Otto, 222
Pine, B. Joseph, 49, 51, 52
piracy, 5–6, 53; bootlegging, 6, 15, 21, 81–105, 235; in Jordan, 113–26 (see also copyright: in Jordan; Hamadeh DVD); peer-to-peer networks, 53 (see also BitTorrent, Pirate Bay)
Piratão (Filé de Peixe), 78
Pirate Bay, 93
Plato, 25–26
Political Portraits (Markopoulos), 195
poor image, 43–53, 79–80, 115–16, 125, 190
pornography, 21, 63–69, 77, 231; and 8mm film distribution, 21, 63–64, 67–68; and experimental film, 21, 63–64, 69, 231; and Grove Press, 63–64, 66–67; and Lovemaking, 21, 63–64, 66, 77, 231
Portlandia, 50, 51
possessable cinema. See private ownership of moving image
Potter, Andrew, 48, 49
Potter, Sally, 227
Prelinger, Rick, 96
Precognition (Parreno), 3, 5, 6, 7, 25, 220, 235
preservation, 31, 87, 99, 141, 148, 155–57, 161, 185, 197–99
Prince, Richard, 108–9
private ownership of moving image, 21, 38, 47, 49, 54–61, 75, 77, 109–10, 114, 136, 138, 254n27, 265n37
Progressive Art Productions (P.A.P.), 196
Prosopographia (Markopoulos), 198
Psychomontage (Kronhausens), 64
public domain, 22, 111, 113, 116, 118–20, 254n27. See also cultural commons; fair use
Punishment Park (Watkins), 184
Quay Brothers, 227
Raban, William, 215
Ramos, Filipa, 219, 230–32
rarity: dialectic of reproducibility and, 24, 52, 133–34, 144, 177, 190, 220, 235–36; limited editions and (see limited edition: artificial scarcity; limited edition: model of distribution); of live performance, 138, 170, 190
Raumlichtkunst (Fischinger), 156–57
Rayi Spartias, 23, 192, 193, 203–7, 212, 215, 218, 267n40
Recoder, Luis, 183
referential reproducibility, 4–5, 20, 34, 48. See also circulatory reproducibility
Rehm, Jean-Pierre, 219
Reich, Jacqueline, 114
rental model of distribution, 5, 57, 76, 90, 136, 138, 244n17; Cinema 16 and, 12, 136–37; cooperatives and, 12–13, 22, 54, 57, 90–91, 163, 234 (see also cooperatives); decline of, 14, 54, 90–92, 96, 104, 136, 234; ethos of access and, 39–40, 137; experimental film and, 12–13, 39–40, 57, 90, 104–5, 136–38, 141, 148; historical dominance of, 12–14, 54, 234; iTunes rentals, 5; limited editions and, 22, 141 146–47, 156, 161; Markopoulos and, 145–46; screening fees, 90, 105, 137, 148, 196, 253n43, 256–57n3, 257n8, 257–58n28; universities and, 76, 91, 96; video and, 12–13, 76–78, 146–47
REPORT (Conner), 158
Re:Voir (Paris), 76
Reynolds, Lucy, 216
Richter, Hans, 62
Rifkin, Jeremy, 49
Rivers, Ben, 232
Robert Self Gallery, 148
Rose Art Gallery, 160
Rose Hobart (Cornell), 127
Rosler, Martha, 153
Rosset, Barney, 59, 65, 71
Rothko Chapel, 210
Rousseau, Jean-Jacques, 27
®™ark, 153–55, 161
Ruskin, John, 29, 34
Russell, Ben, 101, 181
Russell, Catherine, 124
Rutkoff, Rebekah, 213
San Francisco Museum of Modern Art, 157
Sartre, Jean-Paul, 28
Schaefer, Eric, 63
Schum, Gerry, 143–46, 222, 225, 235; Fersehgalerie, 143–46, 222, 225, 229, 232; videogalerie, 143–46, 235, 259n51
Schwartz, Hillel, 1, 24
Scorpio Rising (Anger), 246–47n53
Scorsese, Martin, 227
Screening Room (Channel 5 Boston), 24, 223–26, 228, 230
Screening Room (Fisher), 215
Sedition, 164
Sehgal, Tino, 167
Self Burial (Arnatt), 223
Semiotics of the Kitchen (Rosler), 153
Sender Freies Berlin (West Berlin), 144
Sensier, Alfred, 132
Serious Business Company, 8
Serra, Richard, 147, 149, 259n54
Sharits, Frances, 63
Sharits, Paul, 63, 196; estate of, 156
Shutter Interface (Sharits), 156
Silva, Michelle, 157–59
Simpson, Eileen, 22, 111–26
Singelenberg, Daniel, 206–7
Singer, Ben, 55
site-specific projection, 23, 50, 52, 82, 85, 171, 184, 192–218; in the gallery, 82–85; and pilgrimage, 23, 202, 208, 216; and purpose-built architecture, 209–11, 213–15, 221. See also Temenos
Sitney, P. Adams, 58, 76, 85, 199, 208, 212, 268n47
Skira, Alberto, 62
Slow Action (Rivers), 232
Smith, Jack, 69; estate of, 156
Smith, Roberta, 154
Smithson, Robert, 144, 167, 211, 215; and notion of site/nonsite, 144
Snow, Michael, 91
Société des peintres-graveurs (Society of Painters-Printmakers), 133
Society for Motion Picture and Television Engineers, 57
Songs (Brakhage), 58, 59, 213
Sonnabend, Iliana, 146
Sorrows (Markopoulos), 201–2
Sotiros (Beavers), 206
Spectres (Augustijnen), 219
Spengler, Oswald, 194
Spinner from the Auvergne (Millet), 132
Spiral Jetty (Smithson), 144, 211
Spoerri, Daniel, 39
Spotify, 49
Sprüth Magers, 157
Staiger, Janet, 69
Stanley v. Georgia, 71–72
Starling, Simon, 220
Steyerl, Hito, 43–47, 79, 115–16, 125, 191
Stokes, Simon, 95–96
Stollman, Bernard, 67
Stoneman, Rod, 225
Straub, Jean-Marie, 38
Strife of Love in a Dream, The (Henrot), 231
Struggle in Jerash (al-Shaikh), 111–26
Struggle in Jerash (White and Simpson), 22, 111–26, 188
Struggle in the Pier (Chahine), 113
Struggle in the Valley (Chahine), 113
Subotnik, Ali, 158
Szeemann, Harald, 222
Takahashi, Tess, 19
Talbot, Henry Fox, 99
Tambellini, Aldo, 222
Tarot Garden (Giardino dei Tarrochi), 210
Tate Modern, 152, 155, 232
Tele Mack, Tele-Mack, Telemack (Heinz), 144
television broadcasting, 189, 220; of artists’ film and video, 220, 221–30, 235; obsolescence of, 229–32
Television Delivers People (Serra), 147, 259n54
Temenos, 23, 192–218; Temenos Stiftung, 210
Temenos 82 (Singelenberg), 206–7
10–16 (Wearing), 154
Thater, Diana, 150, 154
Third Memory, The (Huyghe), 109
Thomas, Peter, 18, 19
Thornton, Leslie, 155
THREE SCREEN RAY (Conner), 157
365 Day Project (Mekas), 43
Through a Lens Brightly: Mark Turbyfill (Markopoulos), 61
Tiravanija, Rikrit, 101
Towards the Development of a Cinema Cavern (Smithson), 211
Transmission: Films from a Heroic Future, 104
Trecartin, Ryan, 231
Trilling, Lionel, 28–29, 33
Trumbull, Leslie, 196
Tsang, Wu, 220
Tuymans, Luc, 108–9
TV Commercials (Burden), 223
TV Pieces (Hall), 223
24 Hour Psycho (Gordon), 100, 253–54n13
Twice a Man (Markopoulos), 206
Twice a Man Twice (Markopoulos), 201
UbuWeb, 8, 21, 78, 85–93, 94, 96, 102, 105, 220, 252n32
Un chant d’amour (Genet), 69, 71
Un chien andalou (Buñuel), 127
Unknown Quantity, 158
Unsere Afrikareise (Kubelka), 73
Untitled (Statement of Aesthetic Withdrawal) (Morris), 140
Untitled #29.95: A Video About Video (®™ark), 153–55, 161
Valenti, Jack, 151
Valéry, Paul, 42
VanDerBeek, Stan, 62, 201, 221–22; Movie-Drome, 201, 221–22
van der Rohe, Mies, 84
van Giel, Katrijn, 108
Vdrome, 23–24, 219–21, 230–33, 235
Vertical Roll (Jonas), 147
Vertov, Dziga, 44, 45
Video Data Bank, 14, 105, 147, 153; VDB TV, 105
Video Out Distribution, 104
Video Show: First Festival of Independent Video (London), 148
Video: The New Wave (PBS), 223
Vidokle, Anton, 77
viewing copies, 44, 94, 161–63, 183
Vimeo, 105, 116, 253n44
Viola, Bill, 76, 150, 260n63
Virilio, Paul, 158
Visionary Film (Sitney), 199, 212
Vogel, Amos, 136, 195, 246n36
Vollard, Ambroise, 134
Voyager Press, 76
Voyage(s) en utopie (Godard), 100
Vtape, 13
Wagner, Richard, 201–2, 207–8
Walker Art Center, 16, 105
Walley, Jonathan, 15
Warhol, Andy, 61, 109, 138, 149, 241n30
Wasson, Haidee, 55–56
Water in Milk Exists (Wiener), 231
Watkins, Peter, 184
Watson, Steven, 128
WATV (Newark), 222
Wearing, Gillian, 154
Weber, Max, 27
Wees, William, 110
Wegman, William, 154, 259n54
Weitemeier, Hannah, 143
Westdeucher Rundfunk (West Germany), 143, 222
Westerfelhaus, Robert, 114
Wevers, Ursula, 225
While We’re Young (Baumbach), 48–49
White, Ben, 22, 111–26
White, Charlie, 234
White, Ian, 145
Whitechapel Gallery, 21, 82–86, 93–97, 101–2
White Cube, 163
Whitney Museum of American Art, 157, 198–99, 212
Wieland, Joyce, 41–42
Wiener, Lawrence, 231
Wilson Smith, Matthew, 202
Window Water Baby Moving (Brakhage), 59, 61, 63–64, 224
Wise, Howard, 13, 147
Women Make Movies, 8
Wonder Ring, The (Brakhage), 224
Wooley, Benjamin, 226–27
Working Artists and the Greater Economy (W.A.G.E.), 233
Wyver, John, 229
Young, Edward, 27–28
YouTube, 46–47, 109, 162
Zen For Film (Paik), 185
Zidane: A 21st Century Portrait (Gordon and Parreno), 162
Zinman, Greg, 157
Zippay, Lori, 13
Zones of Immaterial Pictorial Sensibility (Klein), 139–40
Zryd, Michael, 19, 228, 239n26