Beschreibung:
Documents the rich allusiveness and intellectual probity of experimental filmmaking-a form that thrived despite having been officially banned-in East German socialism's final years.
IntroductionArt, Experimentation, and the Avant-Garde in East GermanyHeraklesmaschine: Lutz Dammbeck's Experimental Cinema and the Expropriation of the SensesLines of Communication: Mail Art and the Connectivity of Experimental FilmHerz Horn Haut Schrein: Film and the Autoperforating Body of/at WorkFilm Experiments, Design Anthropology, and the Politics of Vision: Yana Milev's Theory of PracticeConclusion: Images of Moving MarginsNotesBibliographyIndex