Pavle Levi – författare

Cinema by Other Means explores avant-garde endeavors to practice the cinema by using the materials and the techniques different from those commonly associated with the cinematographic apparatus. Using examples from both the historical and the post-war avant-garde -- Dada, Surrealism, Letterism, "structural-materialist" film, and more -- Pavle Levi reveals a range of peculiar and imaginative ways in which filmmakers, artists, and writers have pondered and created, performed and transformed, the "movies" with or without directly grounding their work in the materials of film. The study considers artists and theorists from all over Europe --- France, Italy, Soviet Union, Germany, Hungary -- but it particularly foregrounds the context of the Yugoslav avant-garde. Cinema by Other Means offers the English-language reader a thorough explication of an assortment of distinctly Yugoslav artistic phenomena, such as the Zenithist cine-writings of the 1920s, the proto-structural Antifilm movement of the early 1960s, and the "ortho-dialectical" film-poetry of the 1970s.

Cinema by Other Means explores an extraordinary history, stretching from the 1910s to the present: it is a study of various avant-garde endeavors to practice the cinema by using the tools, the materials, the technology, and the techniques, which either modify or are entirely different from those associated with the standard film apparatus. Using examples from both the historical and the post-war avant-garde--Dada, Surrealism, Letterism, "structural-materialist" film, and more--the book tells the tale of the multiple conditions of cinema; of a range of peculiar and imaginative ways in which filmmakers, artists, and writers have pondered and created, performed and transformed, the "movies"--with or without directly grounding their work in the materials of film.Throughout, Levi considers works by filmmakers, artists, and theorists from all over Europe--France, Italy, Soviet Union, Germany, Hungary--with a special emphasis on the Yugoslav avant-garde. This is the first study to offer the English-language reader a thorough explication of an assortment of distinctly Yugoslav artistic phenomena, such as the Zenithist cine-writings of the 1920s, the proto-structural Antifilm movement of the early 1960s, and the "ortho-dialectical" film-poetry of the 1970s.

Disintegration in Frames examines the ways in which national identity and interethnic relations are approached, evaluated, and critically dissected in films by directors such as Dušan Makavejev, Emir Kusturica, and Srđan Dragojević; subcultural television and musical performances of the Bosnian pop-art movement New Primitivism; amateur video works made by the returning veterans of the Croatian war; political documentaries chronicling the psychological effects of state socialism; and more.

Jolted Images brings together a large cast of mainstream and avant-garde cineastes, artists, photographers, comics creators, poets, and more, to reflect on a wide range of phenomena from the realms of cinema and visual culture in the Yugoslav region, broader Europe, and North America. Far from a staid monograph, the book takes a cue from filmmaker Du an Makavejev, who once wrote that there are times when it is necessary to jolt art, no matter what the outcome; to that end, the book infuses its analysis with playful, creative transfiguration of the material at hand.

Jolted Images brings together a large cast of mainstream and avant-garde cineastes, artists, photographers, comics creators, poets, and more, to reflect on a wide range of phenomena from the realms of cinema and visual culture in the Yugoslav region, broader Europe, and North America. Far from a staid monograph, the book takes a cue from filmmaker Du an Makavejev, who once wrote that there are times when it is necessary to jolt art, no matter what the outcome; to that end, the book infuses its analysis with playful, creative transfiguration of the material at hand.