Preface
p. v
Introduction: A Reader's Guide to the American Avant-Garde Film
p. 3
The Formative Years, 1955-58
p. 13
The Film as an Original Art Form
p. 15
The Experimental Film in America
p. 21
Metaphysic of Ordet: A Letter from Carl Th. Dreyer
p. 27
Citizen Kane: The American Baroque
p. 29
In Memoriam of Dimitri Kirsanov, a Neglected Master
p. 37
A Preface to the Problems of the Experimental Film
p. 42
The Merry Widow
p. 52
Portrait of an Artist
p. 57
A Footnote to Foolish Wives
p. 62
Coffee, Brandy, and Cigars XXX
p. 65
The New American Cinema
p. 71
A Call for a New Generation of Film-Makers
p. 73
For an Uncontrolled Cinema
p. 76
The First Statement of the New American Cinema Group
p. 79
To Maya Deren
p. 84
Notes on the New American Cinema
p. 87
For Shadows, Against Pull My Daisy
p. 108
The Commercial Cinema and the Auteur Theory
p. 119
Notes on the Auteur Theory in 1962
p. 121
The Camera as a God
p. 136
Dreyer
p. 141
Defense of Jayne Mansfield
p. 160
The American Avant-Garde
p. 169
Poetry and the Film: A Symposium with Maya Deren, Arthur Miller, Dylan Thomas, Parker Tyler. Chairman, Willard Mass
p. 171
Imagism in Four Avant-Garde Films
p. 187
Interview with Stan Brakhage
p. 201
The Birth Film
p. 230
Respond Dance
p. 234
On The Art of Vision
p. 258
Harry Smith Interview
p. 260
Kenneth Anger's Scorpio Rising
p. 277
Smith Myth
p. 280
Interview with Peter Kubelka
p. 285
Some Notes on Sleep
p. 300
The Cosmic Cinema of Jordan Belson
p. 302
Notes on Some New Movies and Happiness
p. 317
Structural Film
p. 326
On "Structural Film"
p. 349
Overviews and Theoretical Considerations
p. 351
The Writings of Dziga Vertov
p. 353
Orson Welles and the Big Experimental Film Cult
p. 376
Classic Plastics (and Total Tectonics)
p. 387
The Image of the Body
p. 393
A Note on Comedy in Experimental Film
p. 398
Film and the Radical Aspiration
p. 404
The Independent Film Award
p. 423
Index
p. 430
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