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Author: Yvonne Rainer
Publisher: Indiana University Press
ISBN: 9780253116222
Category : Performing Arts
Languages : en
Pages : 246
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Book Description
"To read Rainer's screenplays is to rediscover, even reinvent, the films all over again, but more importantly to realize that images and mise-en-scà ̈ne are as key to how Rainer's films work as is language." -- The Independent "The scripts record the unique structure of [Rainer's] films, the stresses, strains, and crackling of voices layering over and into one another. Their publication is an important moment for feminist film." -- Cineaste "Rainer's films are not highly accessible but are important to the critical imagination as an example of the sustained exploration of political and feminist theory." -- Choice "Rainer's important work in the area of avant-garde filmmaking in the seventies and eighties is amply recorded in this book... " -- Cantrills Filmnotes' The scripts of Rainer's five films, presented here along with essays, an interview, and bibliography, demonstrate the evolution of her political consciousness as well as her creative engagement with the contemporary film and cultural scene. These texts challenge the illusionist and ideological presumptions of mainstream culture and cinema.
Author: Yvonne Rainer
Publisher: Indiana University Press
ISBN: 9780253116222
Category : Performing Arts
Languages : en
Pages : 246
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Book Description
"To read Rainer's screenplays is to rediscover, even reinvent, the films all over again, but more importantly to realize that images and mise-en-scà ̈ne are as key to how Rainer's films work as is language." -- The Independent "The scripts record the unique structure of [Rainer's] films, the stresses, strains, and crackling of voices layering over and into one another. Their publication is an important moment for feminist film." -- Cineaste "Rainer's films are not highly accessible but are important to the critical imagination as an example of the sustained exploration of political and feminist theory." -- Choice "Rainer's important work in the area of avant-garde filmmaking in the seventies and eighties is amply recorded in this book... " -- Cantrills Filmnotes' The scripts of Rainer's five films, presented here along with essays, an interview, and bibliography, demonstrate the evolution of her political consciousness as well as her creative engagement with the contemporary film and cultural scene. These texts challenge the illusionist and ideological presumptions of mainstream culture and cinema.
Author: Shelley Green
Publisher:
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 184
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Book Description
Examines the work of Yvonne Rainer, an avante-garde filmmaker with film credits covering over 20 years. Green's attention falls specifically on Rainer's treatment of gender and multiculture issues. Annotation copyright by Book News, Inc., Portland, OR
Author: Yvonne Rainer
Publisher: JHU Press
ISBN: 9780801860799
Category : Art
Languages : en
Pages : 494
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Book Description
Her work has been the subject of more than a dozen retrospectives, most recently at the Film Society of Lincoln Center, and has earned her numerous honors, including fellowships from the Guggenheim and MacArthur foundations."--BOOK JACKET. "The latest volume in PAJ's Art + Performance series, A Woman Who ... is a wide-ranging collection of Rainer's interviews, essays, talks, and other writings."--BOOK JACKET.
Author: Yvonne Rainer
Publisher: MIT Press (MA)
ISBN:
Category : Art
Languages : en
Pages : 504
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Book Description
If you're interested in Plato, you're reading the wrong book. If you're interested in difficult childhoods, sexual misadventures, aesthetics, cultural history, and the reasons that a club sandwich and other meals--including breakfast--have remained in the memory of the present writer, keep reading. --from Feelings Are Facts In this memoir, dancer, choreographer, and filmmaker Yvonne Rainer traces her personal and artistic coming of age. Feelings Are Facts(the title comes from a dictum by Rainer's one-time psychotherapist) uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film frame enlargements to present a vivid portrait of an extraordinary artist and woman in postwar America. Rainer tells of a California childhood in which she was farmed out by her parents to foster families and orphanages, of sexual and intellectual initiations in San Francisco and Berkeley, and of artistic discoveries and accomplishments in the New York City dance world. Rainer studied with Martha Graham (and heard Graham declare, "when you accept yourself as a woman, you will have turn-out"--that is, achieve proper ballet position) and Merce Cunningham in the late 1950s and early 1960s, cofounded the Judson Dance Theater in 1962 (dancing with Trisha Brown, Steve Paxton, David Gordon, and Lucinda Childs), hobnobbed with New York artists including Robert Rauschenberg, Robert Morris (her lover and partner for several years), and Yoko Ono, and became involved with feminist and anti-war causes in the 1970s and 1980s. Rainer writes about how she constructed her dances--including The Mind Is a Muscleand its famous section, Trio A, as well as the recent After Many a Summer Dies the Swan--and about turning from dance to film and back to dance. And she writes about meeting her longtime partner Martha Gever and discovering the pleasures of domestic life. The mosaic-like construction of Feelings Are Factsrecalls the composition-by-juxtaposition of Rainer's work in film and dance, displaying prismatic variations from what she calls her "reckless past" for our amazement and appreciation.
Author: Yvonne Rainer
Publisher:
ISBN:
Category : Modern dance
Languages : en
Pages : 338
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Book Description
Author: B. Ruby Rich
Publisher: Duke University Press
ISBN: 9780822321217
Category : Literary Criticism
Languages : en
Pages : 452
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Book Description
If there was a moment during the sixties, seventies, or eighties that changed the history of the women's film movement, B. Ruby Rich was there. Part journalistic chronicle, part memoir, and 100% pure cultural historical odyssey, Chick Flicks--with its definitive, the-way-it-was collection of essays--captures the birth and growth of feminist film as no other book has done. For over three decades Rich has been one of the most important voices in feminist film criticism. Her presence at film festivals (such as Sundance, where she is a member of the selection committee), her film reviews in the Village Voice, Elle, Out, and the Advocate, and her commentaries on the public radio program "The World" have secured her a place as a central figure in the remarkable history of what she deems "cinefeminism." In the hope that a new generation of feminist film culture might be revitalized by reclaiming its own history, Rich introduces each essay with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose. Travel, softball, sex, and voodoo all somehow fit into a book that includes classic Rich articles covering such topics as the antiporn movement, the films of Yvonne Rainer, a Julie Christie visit to Washington, and the historically evocative film Maedchen in Uniform. The result is a volume that traces the development not only of women's involvement in cinema but of one of its key players as well. The first book-length work from Rich--whose stature and influence in the world of film criticism and theory continue to grow--Chick Flicks exposes unexplored routes and forgotten byways of a past that's recent enough to be remembered and far away enough to be memorable.
Author: Elise Archias
Publisher: Yale University Press
ISBN: 0300217978
Category : Art
Languages : en
Pages : 236
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Book Description
Cover -- Half-title -- Title -- Copyright -- Contents -- Acknowledgments -- Introduction. When the Body Is the Material -- 1 Hurray for People: Yvonne Rainer -- 2 Concretions: Carolee Schneemann -- 3 Reasons to Move: Vito Acconci -- Coda. Forming the Senses -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y -- Z -- Illustration Credits
Author: Yvonne Rainer
Publisher:
ISBN: 9781936440108
Category : Performing Arts
Languages : en
Pages : 71
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Book Description
From her work in dance and choreography to her films and writings, Yvonne Rainer (born 1934) has established herself as one of the America's greatest living artists. This first collection of her poems, which were written from the late 1990s onwards and have never before been published, affirms her ability to endow words with corporeality, propulsion and swift-moving narrative. Full of wit and candor, Rainer's poems evoke the rhythm of an urban landscape peopled with old friends and colleagues, trying to make art or simply trying to make ends meet. Memories entangle with news headlines and conversations overheard on the subway, making the poems feel both intimate yet social. Accompanying the poems is a selection of black-and-white images curated by Rainer, varying from news clippings to intimate photographs from Rainer's personal archive. Poet and critic Tim Griffin contributes an introduction.
Author: Carrie Lambert-Beatty
Publisher: MIT Press (MA)
ISBN:
Category : Art
Languages : en
Pages : 392
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Book Description
How Yvonne Rainer's art shaped new ways of watching as well as performing; how it connected 1960s avant-garde art to politics and activism.
Author: Judith Mayne
Publisher: Indiana University Press
ISBN: 9780253115041
Category : Performing Arts
Languages : en
Pages : 274
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Book Description
"[The Woman at the Keyhole is one] of the most significant contributions to feminist film theory sin ce the 1970s." -- SubStance "... this intelligent, eminently readable volume puts women's filmmaking on the main stage.... serves at once as introduction and original contribution to the debates structuring the field. Erudite but never obscure, effectively argued but not polemical, The Woman at the Keyhole should prove to be a valuable text for courses on women and cinema." -- The Independent When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative.
