Books by Federico Windhausen
A Companion to Experimental Cinema, 2022
A Companion to Experimental Cinema is a collection of original essays organized around both theor... more A Companion to Experimental Cinema is a collection of original essays organized around both theoretical and historical issues of concern to film scholars, programmers, filmmakers, and viewers. Newly-commissioned essays written by specialists in the field, along with dialogues conducted with a diverse range of practitioners, focus on core subjects to present an international array of overlapping and contrasting perspectives. This unique text not only provides detailed accounts of particular films and filmmakers, but also discusses new approaches of understanding, characterizing, and shaping experimental cinema.
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Papers by Federico Windhausen
Secuencias. Revista de historia del cine, 2022
RESUMEN Este artículo ofrece una introducción a algunos de los temas y conceptos que dominaron el... more RESUMEN Este artículo ofrece una introducción a algunos de los temas y conceptos que dominaron el discurso sobre el súper 8 en Argentina durante la década de 1970, prestando atención especial a la Unión de Cineístas de Paso Reducido (UNCIPAR), que tenía su sede en Buenos Aires. Este estudio se centra en tres áreas temáticas principales: las narrativas de origen y surgimiento, particularmente en relación a otros modelos de cooperación y organización como el cineclub; la compleja relación entre los ideales y autocaracterizaciones (a menudo involucrando nociones de autonomía) de esta subdivisión de la cultura del cine independiente y las exigencias y limitaciones impuestas por diversos factores materiales, económicos e ideológicos, incluso durante la dictadura militar de entre 1976 y 1983; y finalmente, la portabilidad y los trayectos de circulación, un tema desatendido dentro la historiografía de súper 8 en los setenta. Palabras clave: cine súper 8, cine argentino, cine de paso reducido, las asociaciones de cine, cineclubes, censura, exhibición de cine.
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A Companion to Experimental Cinema, 2022
In this introduction, in lieu of any attempt at a comprehensive definition, a global history of e... more In this introduction, in lieu of any attempt at a comprehensive definition, a global history of experimental cinema, or a general account of its trajectory as the subject of academic studies, I focus on a significant scholarly development, a move toward what can be called “contexts of collectivity”. This expansion in scholarship has helped to shape much contemporary academic writing, even if only as a set of premises and interests that are more often assumed than elaborated explicitly. In what follows, I offer a preliminary sketch of one of many possible prehistories to the considerations of experimental cinema included in this collection, in the hope of illuminating some of the ideas that motivate how this diverse cultural field is studied today.
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MIRAJ (Moving Image Review & Art Journal), 2021
This article discusses Pablo Weber’s Homenaje a la obra de Philip Henry Gosse (‘Homage to the wor... more This article discusses Pablo Weber’s Homenaje a la obra de Philip Henry Gosse (‘Homage to the work of Philip Henry Gosse’) (2020), a video that can be characterized as a moving image essay. Central to Weber’s video essay is the idea that digital data are like fossils: impressions, traces, or remnants of the past, bearing an objective identity that is tied to, but not the same as, the ontology of the things they register or preserve. I consider how an unresolved tension between doubt and belief dominates Weber’s essay video, as well as some of the questions it raises regarding how we are to respond to those complex artifacts that exist at the intersection of human intentionality, automatized computational processes and the physical operations that run digital machines.
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La Fuga, 2022
Esta introducción ensayística a la obra de Narcisa Hirsch de los años sesenta y setenta del pasad... more Esta introducción ensayística a la obra de Narcisa Hirsch de los años sesenta y setenta del pasado siglo analiza la importancia de cuatro espacios —la calle, el cine, el taller y el paisaje— donde se ponen de manifiesto algunos de sus intereses conceptuales y temáticos más fundamentales. Dentro de su crónica del desarrollo de las prácticas artísticas de Hirsch, presenta: una constelación más variada de sus performances para sitios urbanos; una contextualización de su giro hacia el cine en relación con las redes de mujeres asociadas con el cine experimental; la representación visual del lugar de trabajo de la cineasta como espacio de exploración, particularmente de la comunicación lingüística y sus límites; y la incorporación de sus películas caseras patagónicas a la filmografía que merece atención crítica. Cada sitio se organiza de acuerdo con nuevas coordenadas y puntos de conexión descuidados o desconocidos, con el objetivo de ampliar nuestra comprensión de los trabajos y las obras de Hirsch y las historias con las que se cruzan.
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Cine Documental, 2021
Un caso muy temprano de la etnografía experimental en el cine mexicano, la película Judea: Semana... more Un caso muy temprano de la etnografía experimental en el cine mexicano, la película Judea: Semana Santa entre los Coras (Nicolás Echevarría, 1974) retrata la celebración llamada La Judea del grupo étnico los coras del estado de Nayarit de México. Judea refleja una sensibilidad moldeada por nuevas formas de experimentalismo en la música y el cine, exploradas por el cineasta en la Ciudad de México y Nueva York. Prestando especial atención al montaje audiovisual, este ensayo propone que los sonidos compuestos para la banda sonora por Mario Lavista, tanto como las imágenes de que fueron filmadas y editadas por el cineasta, reflejan el valor que se le da a la respuesta abierta del espectador-oyente «liberado» en esas comunidades experimentalistas. Además, este análisis muestra dónde Judea coincide y diverge de las ideas y prácticas defendidas por el cineasta etnográfico Jean Rouch en los años setenta y principios de los ochenta.
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Fuera de Campo, 2021
This article shows how Fernando Birri's film ORG can be placed in a productive dialogue with two ... more This article shows how Fernando Birri's film ORG can be placed in a productive dialogue with two "new cinemas" of the sixties, the post-1967 art cinema that is often referred to as political modernism and the branch of experimental cinema commonly labeled "underground". Of particular importance for Birri's project is the ability of cinematic montage to directly impact viewers' consciousness, an effect the filmmaker explores in ways that resonate with the work of a few contemporaneous experimental filmmakers in particular. Paying special attention to Birri's published and unpublished writings, this study identifies and traces distinctions between, on the hand, Birri's film and its motivating ideas and, on the other hand, the textual output (films and theories about film and culture) of contemporaneous filmmakers of the sixties. Those filmmakers include Jean-Luc Godard, Fernando Solanas and Octavio Getino, Stan Brakhage, Gregory Markopolous, Paul Sharits, and Alberto Grifi.
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Catálogo: Entre el cuerpo y lo eterno - El cine de Narcisa Hirsch (DocumentaMadrid, Museo Nacional Centro de Arte Reina Sofía), 2021
Una primera versión (luego revisada para la revista en línea La fuga) de un texto introductorio a... more Una primera versión (luego revisada para la revista en línea La fuga) de un texto introductorio a la obra de Narcisa Hirsch (Alemania, 1928). Se enfoca en los lugares y espacios, ya sean ubicaciones específicas o tipos de sitios, que se vuelven importantes a lo largo del desarrollo de su carrera durante los años sesenta y setenta del pasado siglo. Los cuatro espacios son la calle, el cine, el taller y el paisaje, y en cada uno se ponen de manifiesto algunos de sus intereses conceptuales y temáticos más fundamentales.
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La Furia Umana, 2019
I examine a pair of films by Buenos Aires-based filmmakers, Sergio Subero's Espectro (Super 8, 20... more I examine a pair of films by Buenos Aires-based filmmakers, Sergio Subero's Espectro (Super 8, 2010) and Pablo Mazzolo's Fotooxidación (16mm, 2013), each of which assigns a central role to the phenomenon of filmed light. Both films attest to the continued appeal of light as, on the one hand, a vehicle for metaphoric, poetic, and symbolic meanings and, on the other, an index of a range of material, technical, and process-oriented referents. Espectro and Fotooxidación were each borne of a sensitive understanding of what can be accomplished with photochemical film, and the differences in their mutual focus on filmed light can be formulated schematically: Subero’s film works with the trope of the inner, placing it in relation to the film camera, while Mazzolo’s turns toward the outer, transmuting the cinema’s visualizations of the urban scene through chemical processes. Threaded throughout my discussion of each film is a consideration of where these films can be said to meet up with broader tendencies and trajectories in the traditions of experimental cinema.
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Moving Image Review & Art Journal, 2017
This article groups together a small number of films made at the London Filmmakers’ Co-operative ... more This article groups together a small number of films made at the London Filmmakers’ Co-operative in the first half of the 1970s, primarily by film-makers such as Chris Welsby and William Raban, who are more typically discussed in relation to the category of ‘landscape films’. The films discussed here explore the restrictive and expansive possibilities of systems, constraints and procedural processes. They often resemble other experimental films that deploy repetition, but they are distinguished by the following features: the consistent use of predetermined rules and prescripts; in-camera editing that either follows pre-selected schema and set procedures or breaks from these for specific reasons; and causal mechanisms, often requiring the film-maker to react to events occurring at a specific site. These practices draw from, intersect with, and contribute to a broader interest in systems-oriented and constraint-based processes that also encompasses literature and painting. Consequently, this study looks at two collectives, Oulipo and the Systems Group, in order to provide a more period-specific contextualization of this tendency within the Co-op. Linking together much of this work are, for example, the resistance to romantic notions of creative activity and the view that the artwork’s form is more than simply a static construct.
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On ( ) by Morgan Fisher
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Discussing the films Newsprint (1972) by Guy Sherwin, Dresden Dynamo (1971/72) by Lis Rhodes, Thr... more Discussing the films Newsprint (1972) by Guy Sherwin, Dresden Dynamo (1971/72) by Lis Rhodes, Threshold (1972) by Malcolm Le Grice, Shepherd’s Bush (1971) by Mike Leggett, Deep Space (1973) by Mike Dunford, Variant (1973) by John Du Cane, Shapes (1970) by Annabel Nicolson, and Leading Light (1975) by John Smith.
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http://sensesofcinema.com/2013/feature-articles/jewish-streetscapes-ken-jacobs-in-lower-manhattan/
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October, 2011
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October, 2004
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Short articles by Federico Windhausen
October, 2023
What remains of the North American avant-garde of the 1960s and ‘70s? Certainly many more films t... more What remains of the North American avant-garde of the 1960s and ‘70s? Certainly many more films than filmmakers, but a paper trail as well. Housed in museums, university libraries, film archives, and personal collections across the United States and Canada, a decentralized and ever-expanding set of documents and ephemera is shaping and informing numerous research-based projects in curation, academic scholarship, and film restoration. And yet, in contrast to this contemporary trend, the collected papers of Michael Snow at the Art Gallery of Ontario in Toronto have yet to be explored in depth. A notable exception is Elizabeth Legge's monograph on Snow's Wavelength (1967), which cites some of the notes he kept during the film's conceptualization and production.2 Because the analysis of those notes was not one of Legge's primary objectives, however, her book reproduces only three of the pages in Snow's Wavelength file.
The occasion of Snow's recent passing will doubtless be met by various forms of retrospection, and this small contribution to that extended moment of reflection makes available in print a greater number of the Wavelength files than have previously been published. They represent a rare instance of a canonical avant-garde film's being accompanied by a significant corpus of scribblings, illustrations, and diagrams. This selection, comprising twenty-four pages taken from the filmmaker's unbound notes, introduces some of the themes and questions that Snow was putting to paper during the project's year of gestation. Below, I offer a few remarks on those pages. They are admittedly somewhat arbitrary, but they are intended to bring to light some of the archive's lesser-known revelations.
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Books by Federico Windhausen
Papers by Federico Windhausen
Short articles by Federico Windhausen
The occasion of Snow's recent passing will doubtless be met by various forms of retrospection, and this small contribution to that extended moment of reflection makes available in print a greater number of the Wavelength files than have previously been published. They represent a rare instance of a canonical avant-garde film's being accompanied by a significant corpus of scribblings, illustrations, and diagrams. This selection, comprising twenty-four pages taken from the filmmaker's unbound notes, introduces some of the themes and questions that Snow was putting to paper during the project's year of gestation. Below, I offer a few remarks on those pages. They are admittedly somewhat arbitrary, but they are intended to bring to light some of the archive's lesser-known revelations.
The occasion of Snow's recent passing will doubtless be met by various forms of retrospection, and this small contribution to that extended moment of reflection makes available in print a greater number of the Wavelength files than have previously been published. They represent a rare instance of a canonical avant-garde film's being accompanied by a significant corpus of scribblings, illustrations, and diagrams. This selection, comprising twenty-four pages taken from the filmmaker's unbound notes, introduces some of the themes and questions that Snow was putting to paper during the project's year of gestation. Below, I offer a few remarks on those pages. They are admittedly somewhat arbitrary, but they are intended to bring to light some of the archive's lesser-known revelations.
https://www.revistatransas.com/
https://sfcinematheque.wordpress.com/2011/10/24/95/
https://lux.org.uk/writing/approaching-argentine-experimental-cinema
https://lux.org.uk/federico-windhausen-2-further-notes
http://lux.org.uk/blog/federico-windhausen-3-passages-introducing-narcisa-hirsch-and-marie-louise-alemann
https://lux.org.uk/writing/horacio-vallereggio-uf-federico-windhausen
http://lux.org.uk/blog/federico-windhausen-5-controlled-chance-claudio-caldinis-gamelan
http://issuu.com/semanadelfilmexperimental.argentina/docs/pdf_cat__logo_para_issuu/5?e=20680382/31597393
https://www.keepandshare.com/doc/6321669/windhausen-goel-heredia-marziano-mfj-pdf
https://www.keepandshare.com/doc/1832413/windhausen-lfmc-pdf-march-30-2010-4-27-pm-1-7-meg?da=y
https://www.keepandshare.com/doc/4482841/windhausen-radical-light-review-pdf?da=y
https://www.keepandshare.com/doc/1832417/windhausen-sharits-animation-pdf-march-30-2010-4-27-pm-505k?da=y
http://www.cineaste.com/winter2015/projections-nyff
https://www.scribd.com/doc/315920178/Narcisa-Hirsch-interview-by-Federico-Windhausen?secret_password=qy8XgZaH2fclZumU94g3