Howes seth (36 résultats)

Hardcover. Etat : Very Good. Hardcover with printed boards, no jacket. Shows light shelf wear - some scuffing on cover - otherwise as new. Pages are clean and unmarked. No notes or highlighting.

Paperback. Etat : Very Good. Never read, no marks or highlights in the text. Our copy is a new paperback showing cover curl at the bottom front corner.

Paperback. Etat : As New. Never read, no marks or highlights in the text. Our copy is a new paperback showing only light shelfwear.

Etat : New.

Etat : As New. Unread book in perfect condition.

Hardcover. Etat : Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority.

Etat : New.

Hardcover. Etat : New.

Etat : Good. Used books cannot guarantee unused access codes or working CD's.

Paperback. Etat : Brand New. reprint edition. 179 pages. 9.25x6.00x0.50 inches. In Stock.

Etat : As New. Unread book in perfect condition.

Loose Leaf. Etat : Fair. 10. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Etat : acceptable. This item is worn. Signs of wear may include aesthetic issues such as scratches, dents and worn corners. All pages and the cover are intact, but the dust cover may be missing. Pages may include moderate to heavy number of notes and highlighting, but the text is not obscured or unreadable.…

Hardback. Etat : New. 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.In the German Democratic Republic during the 1970s and 1980s, more than two hundred films and videos, many of them experimental, were made outside government-run institutions despite legal restrictions on independent filmmaking, and despite the state-owned DEFA studio system's resistance to experimental film. Many were by professional artists who incorporated their painted, sculpted, and performed works in their films and then re-integrated their films into their other artistic endeavors. In addition to showing and debating their films informally in private, these artists worked within existing institutions, establishing annual meetings at Dresden's Academy of Fine Arts, publishing on experimental film in official journals, and even exhibiting films at the Academy of Arts in Berlin. Though pursued as political subversives by the Stasi and dismissed as dilettantes by older critics, these artists frequently engaged their detractors in open debate, advancing their creative itineraries by exposing conceptual problems lurking in the histories of art and cinema. Through extensive archival research, formal analyses of over a dozen films, and interpretation of their relation to their creators' work in other media, Seth Howes documents the rich allusiveness and intellectual probity of experimental filmmaking in East German socialism's final years. Individual chapters examine Lutz Dammbeck's incorporation of painting, dance, literature, and experimental film into a critique of the (mass-)mediation of experience; the Autoperforationsartisten's use of film to problematize the notion of the "performance document"; Greifswald-based artists' integration of film into mail-art projects that crossed political borders and boundaries between media; and Yana Milev's blending of film and installation art to theorize the organization and segmentation of urban spaces. Seth Howes is Assistant Professor of German in the Department of German and Russian Studies at the University of Missouri.…

Hardback. Etat : New. 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.In the German Democratic Republic during the 1970s and 1980s, more than two hundred films and videos, many of them experimental, were made outside government-run institutions despite legal restrictions on independent filmmaking, and despite the state-owned DEFA studio system's resistance to experimental film. Many were by professional artists who incorporated their painted, sculpted, and performed works in their films and then re-integrated their films into their other artistic endeavors. In addition to showing and debating their films informally in private, these artists worked within existing institutions, establishing annual meetings at Dresden's Academy of Fine Arts, publishing on experimental film in official journals, and even exhibiting films at the Academy of Arts in Berlin. Though pursued as political subversives by the Stasi and dismissed as dilettantes by older critics, these artists frequently engaged their detractors in open debate, advancing their creative itineraries by exposing conceptual problems lurking in the histories of art and cinema. Through extensive archival research, formal analyses of over a dozen films, and interpretation of their relation to their creators' work in other media, Seth Howes documents the rich allusiveness and intellectual probity of experimental filmmaking in East German socialism's final years. Individual chapters examine Lutz Dammbeck's incorporation of painting, dance, literature, and experimental film into a critique of the (mass-)mediation of experience; the Autoperforationsartisten's use of film to problematize the notion of the "performance document"; Greifswald-based artists' integration of film into mail-art projects that crossed political borders and boundaries between media; and Yana Milev's blending of film and installation art to theorize the organization and segmentation of urban spaces. Seth Howes is Assistant Professor of German in the Department of German and Russian Studies at the University of Missouri.…

Etat : New.

Hardcover. Etat : New. Brand new book, sourced directly from publisher. Dispatch time is 6-7 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Etat : New.

Etat : As New. Unread book in perfect condition.

Hardback. Etat : New. 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.In the German Democratic Republic during the 1970s and 1980s, more than two hundred films and videos, many of them experimental, were made outside government-run institutions despite legal restrictions on independent filmmaking, and despite the state-owned DEFA studio system's resistance to experimental film. Many were by professional artists who incorporated their painted, sculpted, and performed works in their films and then re-integrated their films into their other artistic endeavors. In addition to showing and debating their films informally in private, these artists worked within existing institutions, establishing annual meetings at Dresden's Academy of Fine Arts, publishing on experimental film in official journals, and even exhibiting films at the Academy of Arts in Berlin. Though pursued as political subversives by the Stasi and dismissed as dilettantes by older critics, these artists frequently engaged their detractors in open debate, advancing their creative itineraries by exposing conceptual problems lurking in the histories of art and cinema. Through extensive archival research, formal analyses of over a dozen films, and interpretation of their relation to their creators' work in other media, Seth Howes documents the rich allusiveness and intellectual probity of experimental filmmaking in East German socialism's final years. Individual chapters examine Lutz Dammbeck's incorporation of painting, dance, literature, and experimental film into a critique of the (mass-)mediation of experience; the Autoperforationsartisten's use of film to problematize the notion of the "performance document"; Greifswald-based artists' integration of film into mail-art projects that crossed political borders and boundaries between media; and Yana Milev's blending of film and installation art to theorize the organization and segmentation of urban spaces. Seth Howes is Assistant Professor of German in the Department of German and Russian Studies at the University of Missouri.…

Etat : As New. Unread book in perfect condition.

Hardcover. Etat : Brand New. 265 pages. 9.00x6.00x0.75 inches. In Stock.

Hardback. Etat : New. 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.In the German Democratic Republic during the 1970s and 1980s, more than two hundred films and videos, many of them experimental, were made outside government-run institutions despite legal restrictions on independent filmmaking, and despite the state-owned DEFA studio system's resistance to experimental film. Many were by professional artists who incorporated their painted, sculpted, and performed works in their films and then re-integrated their films into their other artistic endeavors. In addition to showing and debating their films informally in private, these artists worked within existing institutions, establishing annual meetings at Dresden's Academy of Fine Arts, publishing on experimental film in official journals, and even exhibiting films at the Academy of Arts in Berlin. Though pursued as political subversives by the Stasi and dismissed as dilettantes by older critics, these artists frequently engaged their detractors in open debate, advancing their creative itineraries by exposing conceptual problems lurking in the histories of art and cinema. Through extensive archival research, formal analyses of over a dozen films, and interpretation of their relation to their creators' work in other media, Seth Howes documents the rich allusiveness and intellectual probity of experimental filmmaking in East German socialism's final years. Individual chapters examine Lutz Dammbeck's incorporation of painting, dance, literature, and experimental film into a critique of the (mass-)mediation of experience; the Autoperforationsartisten's use of film to problematize the notion of the "performance document"; Greifswald-based artists' integration of film into mail-art projects that crossed political borders and boundaries between media; and Yana Milev's blending of film and installation art to theorize the organization and segmentation of urban spaces. Seth Howes is Assistant Professor of German in the Department of German and Russian Studies at the University of Missouri.…

Hardcover. Etat : Brand New. hardback edition. 192 pages. 9.25x6.00x0.75 inches. In Stock.

Etat : good. May show signs of wear, highlighting, writing, and previous use. This item may be a former library book with typical markings. No guarantee on products that contain supplements Your satisfaction is 100% guaranteed. Twenty-five year bookseller with shipments to over fifty million happy customers.…

Etat : good. May show signs of wear, highlighting, writing, and previous use. This item may be a former library book with typical markings. No guarantee on products that contain supplements Your satisfaction is 100% guaranteed. Twenty-five year bookseller with shipments to over fifty million happy customers.…

Etat : Good. Used books cannot guarantee unused access codes or working CD's.

Etat : New. Print on Demand.

Etat : New. Print on Demand.

Etat : New. PRINT ON DEMAND.