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"The Theatricality of the Emulsion!"

Queerness, Tactility, and Abstraction in the Hand-Processed Films of Roger Jacoby

Benjamin Ogrodnik

This article reexamines the career of Roger Jacoby (1945–1985), an abstract painter and gay liberation activist who became renowned for processing film in his darkened bathtub and for films that featured his partner, Ondine, the Andy Warhol Superstar. Through a consideration of film shorts made in the 1970s and 1980s, the article argues that Jacoby’s principal innovation was the exploration of hand-processing, which resulted in films that resembled abstract expressionist paintings in motion. Additionally, it considers hand-processing as an overlooked, albeit powerful, vehicle for expressing non-normative sexuality in American avant-garde film. It situates Jacoby alongside gay filmmakers Kenneth Anger, Gregory Markopoulos, and Jack Smith, and considers how hand-processed media can generate a “corporealized” spectator and disrupt patterns of filmic illusionism and heterosexist protocols of sexual/gender representation.

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

Binghamton, studying under Jacobs, as his own initiation in the late 1970s into the practice and aesthetics of optical printing. Having briefly traced the heritage of found footage in avant-garde film, I now return to the distinctness of Solomon’s practice

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Gianni Barchiesi, Laura T. Di Summa, Joseph G. Kickasola, and Peter Verstraten

admittedly ideological understanding of avant-garde filmmaking is fought against all throughout the book. It presents avant-garde films as radical antitheses to movies mostly based on the assumption that avant-garde filmmakers systematically rebelled

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Carl Plantinga

easy to overestimate the importance of character engagement in an ethics of engagement. Although various avant-garde films without characters are impressive in their own right and may have important ethical implications, most of what we see on screens

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Melenia Arouh

avant-garde films observes that these, following modernist principles of art, should present us with the medium of cinema. That is, their subject matter has to revolve around the nature of the medium. But this proves difficult given the lack of precise

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub

proprioceptive works range from avant-garde film (Marcel Duchamp’s Anémic Cinéma and Tony Conrad’s The Flicker ), “science fiction(ish)” film (Stanley Kubrick’s 2001: A Space Odyssey and Alfonso Cuarón’s Gravity), to experimental documentary (Godfrey Reggio

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Laura T. Di Summa

untutored alike, to question their content, interpret, and in the most successful cases, evaluate. Hollywood International Films, unlike esoteric, avant-garde films, appear to call for a I/You kind of engagement, where the very content of the movie demands

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

the neurophysiological challenges that the future held in store. P. Adams Sitney has recently argued that Menken’s primary influence on American avant-garde film stylistics should be traced back to her pivotal achievement in the development of an

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Osnat Roth-Cohen and Yehiel Limor

, and Israeli Advertising . Lanham, MD : Lexington Books . Fulks , Barry A . 1982 . “Film Culture and Kulturfilm: Walter Ruttmann, the Avant-Garde Film, and the Kulturfilm in Weimar Germany and the Third Reich.” PhD diss., University of Wisconsin

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Steven Eastwood

-narrative traditions of avant-garde film, and both James Peterson (1994) and Murray Smith (2011a , 2011b) have done interesting work looking at cognitive reception and experimental film, in terms of the hermeneutic desire to react to on screen events as a problem