{"title":"Books \u0026 Magazines: Moving Image","description":"","products":[{"product_id":"jonas-mekas-scrapbook-of-the-sixties","title":"Jonas Mekas: Scrapbook of the Sixties","description":"\u003cp\u003eAndy Warhol, Susan Sontag, John Lennon \u0026amp; Yoko Ono — Jonas Mekas was well acquainted with a great many New York artists. Born in Lithuania, he came to Brooklyn via Germany in 1949 and began shooting his first experimental films there. Mekas developed a form of film diary in which he recorded his daily observations. He became the barometer of the New York art scene and a pioneer of American avant-garde cinema. Every week, starting in 1958 he published his legendary Movie Journal column in the Village Voice, writing on a range of subjects that were by no means restricted to the world of film. He conducted numerous interviews with artists, some of which will now appear for the first time in his Scrapbook of a Diarist. The book contains published and unpublished texts that reveal Mekas as a thoughtful diarist and an unparalleled chronicler of the day — a phenomenon that has continued now for over fifty years.\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46977502904615,"sku":"44328663","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/products\/image_975a9142-b89d-41fe-991d-dd6dd9b8da02.jpg?v=1699205259"},{"product_id":"dara-birnbaum-technology-transformation-wonder-woman","title":"Dara Birnbaum - Technology\/Transformation: Wonder Woman","description":"\u003cp\u003eA critical examination of Dara Birnbaum's action-packed and riveting video of Wonder Woman's transformations.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOpening with a prolonged salvo of fiery explosions accompanied by the warning cry of a siren, Dara Birnbaum's video Technology\/Transformation: Wonder Woman (1978–79) is a concise, action-packed, and visually riveting video. During its seven-minute span we see, again and again, the transformation of the drab secretary Diana Prince into the super-heroic Wonder Woman. By isolating and repeating the moment of transformation—spinning figure, arms outstretched—Birnbaum unmasks the technology at the heart of the metamorphosis. In this illustrated examination of Birnbaum's video, T. J. Demos situates it in its historical context—among other developments in postmodernist appropriation, media analysis, and feminist politics—and explores the artist's pioneering attempts to open up the transformative abilities of video as a medium. Demos examines Birnbaum's influence on such artists as Douglas Gordon, Pierre Huyghe, Philippe Parreno, and Candice Breitz, and the turn toward “postproduction procedures”—the mobilization of existing imagery for innovative uses. He also reveals a fascinating historical shift in the reception of Birnbaum's work: a move from an emphasis on her deconstruction of mass culture ideology to an appreciation of her creative use of consumer imagery.\u003cbr\u003e\u003cspan style=\"font-size: 0.875rem;\" data-mce-style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978920972583,"sku":null,"price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/81-OfPj-W_L._AC_UF1000_1000_QL80.jpg?v=1698091390"},{"product_id":"feminist-worldmaking-and-the-moving-image","title":"Feminist Worldmaking and the Moving Image","description":"\u003cp\u003eIntersectional, intergenerational, and international perspectives on nonfiction filmmaking by women, generously illustrated, with film stills and other images.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle—a way of not only picturing the world but remaking it.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe contributors consider key decolonial filmmakers, including Trinh T. Minh-ha and Sarah Maldoror; explore collectively produced films with ties to women's liberation movements in different countries; and investigate the cinematic expressions of tensions and alliances between feminism and anti-imperialist struggles. They grapple with the need for a broader more inclusive definition of the term “feminism”; meditate on the figure of the grandmother; reflect on realist aesthetics; and ask what a feminist film historiography might look like.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe book, generously illustrated with film stills and other images, many in color, offers ten original texts, two conversations, and eight short essays composed in response to historical texts written by filmmakers. The historical texts, half of which are published in English for the first time, appear alongside the essays.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCopublished with the Haus der Kulteren der Welt (HKW), Berlin\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eContributors:\u003cbr data-mce-fragment=\"1\"\u003eHelena Amiradżibi, Madeleine Bernstorff, Teresa Castro, Counter Encounters (Laura Huertas Millán, Onyeka Igwe, Rachael Rakes), Ayanna Dozier, Forough Farrokhzad, Safi Faye, Devika Girish, Elena Gorfinkel, Haneda Sumiko, Shai Heredia, Juliet Jacques, Sarah Keller, Nzingha Kendall, Julia Lesage, Beatrice Loayza, Janaína Oliveira, Lakshmi Padmanabhan, Yasmina Price, Elizabeth Ramírez-Soto, Pooja Rangan, Lis Rhodes, Sara Saljoughi, Rasha Salti, Isabel Seguí, Chick Strand, Monika Talarczyk, Trinh T. Minh-ha, Françoise Vergès, Claudia von Alemann, Mitsuyo Wada-Marciano, Shilyh Warren, Giovanna Zapperiime.”\u003cbr\u003e\u003cspan style=\"font-size: 0.875rem;\" data-mce-style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978934210855,"sku":null,"price":29.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/71hxY2fHL_L._AC_UF1000_1000_QL80.jpg?v=1698092188"},{"product_id":"halsted-plays-himself","title":"Halsted Plays Himself","description":"\u003cp\u003eThe life, times, and mysteries of Fred Halsted, gay porn's first film auteur, in a new, updated, and expanded edition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFred Halsted’s L.A. Plays Itself (1972) was gay porn’s first masterpiece: a sexually explicit, autobiographical, experimental film whose New York screening left even Salvador Dalí repeatedly muttering “new information for me.” Halsted, a self-taught filmmaker, shot the film over a period of three years in a now-vanished Los Angeles, a city at once rural and sleazy. Although his cultural notoriety at one point equaled that of Kenneth Anger or Jack Smith, Halsted’s star waned in the 1980s with the emergence of a more commercial gay porn industry. After the death from AIDS of his long-time partner, lover, spouse (and tormentor) Joey Yale in 1986, Halsted committed suicide in 1989. In Halsted Plays Himself, acclaimed artist and filmmaker William E. Jones documents his quest to capture the elusive public and private personas of Halsted—to zero in on an identity riddled with contradictions. Jones assembles a narrative of a long-gone gay lifestyle and an extinct Hollywood underground, when independent films were still possible, and the boundary between experimental and pornographic was not yet established. The book also depicts what sexual liberation looked like at a volatile point in time—and what it looked like when it collapsed.\u003cbr\u003e \u003cbr\u003eThe revised and expanded edition of Halsted Plays Himself includes material that came to light since the book’s first publication, including details about the restoration of Halsted’s films by the Museum of Modern Art, the true identities of several key figures in his life, new testimony from family members, and the rediscovery of his feature film Truck It (1973), previously considered lost.\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978941583655,"sku":null,"price":27.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/717Jiqfl8uL._AC_UF1000_1000_QL80.jpg?v=1698092483"},{"product_id":"john-waters-pope-of-trash","title":"John Waters: Pope of Trash","description":"\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eEdited with text by Jenny He and Dara Jaffe. Foreword by Jacqueline Stewart. Text by Jeanine Basinger, B. Ruby Rich, David Simon, John Waters. Interview with Sean Baker, Debbie Harry, Barry Jenkins, Johnny Knoxville, Bruce LaBruce, Ricki Lake, Orville Peck, Iggy Pop, Cindy Sherman, Kathleen Turner, Christine Vachon, Edgar Wright.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eKnown for pushing the boundaries of good taste, John Waters (born 1946) has created a canon of high-shock-value, high-entertainment movies that have cemented his position as one of the most revered and subversive auteurs in American independent cinema. Featuring misfit muses, tributes to his hometown of Baltimore and themes of fetish, obsession and celebrity culture, his renegade films—including Pink Flamingos (1972), Female Trouble (1974), Desperate Living (1977), Hairspray (1988), Serial Mom (1994) and A Dirty Shame (2004)—are irreverent, laugh-out-loud comedies that lovingly draw inspiration from William Castle, Herschell Gordon Lewis, Russ Meyer, Andy Warhol and Pier Paolo Pasolini alike. John Waters: Pope of Trash accompanies a landmark exhibition at the Academy Museum of Motion Pictures, the first dedicated solely to Waters’ films. The book presents costumes, props, handwritten scripts, concept drawings, correspondence, promotional gimmicks, production photography and other original materials from all of the filmmaker’s features and shorts. Spotlighting many of his longtime collaborators, it also features a new interview with Waters and texts by curators Jenny He and Dara Jaffe, film historian Jeanine Basinger, film critic and cultural theorist B. Ruby Rich, and author-writer-producer David Simon that explore how Waters’ movies have redefined the possibilities of independent cinema.\u003c\/span\u003e\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978950332711,"sku":null,"price":59.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/61dhU4L4wrL._AC_UF1000_1000_QL80.jpg?v=1698093267"},{"product_id":"martine-syms","title":"Martine Syms: She Mad","description":"\u003cp\u003eA source book documenting five episodes of Martine Syms's seminal fragmented television series, She Mad.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWorks by Martine Syms explore how mass media shapes and frames identities and cultures. Drawing from early cinema, television, the internet, social media, and ambient footage produced by phones and surveillance, Syms addresses the ways in which representations of black identity and gender appear in the public imagination. She Mad gathers materials and documentation on Martine Syms’s seminal episodic project of the same name. Each episode of this series takes a different format, using various narrative formats, from sitcoms to TikTok videos, and includes filmed footage as well as research materials. Each episode revolves around a protagonist, also named Martine—an overachieving, stoner graphic designer who lives in Hollywood and wishes she were an important artist. \u003cbr\u003e\u003cbr\u003eThe first episode Pilot for a Show about Nowhere (2015) merges a semi-autobiographical account of Syms’s own life as a young black woman with a video essay-like narrative on the history of commercial television and its assumed target audiences. The episode Laughing Gas (2016) draws on early cinema, specifically the 1907 silent film of the same name by Edwin Porter, one of the earliest examples of a black female actress, Bertha Regustus, performing an independent role on-screen. Intro to Threat Modeling (2017) is told through email exchanges, screengrabs, and an avatar, outlining the effects of surveillance on subjectivity. The episode Bitch Zone (2020) takes us to an empowerment programme for teenage girls founded by supermodel and business mogul Tyra Banks\u003cbr\u003e\u003cbr\u003eThe book is published on the occasion of the exhibition of She Mad—Season One at Bergen Kunsthall, Norway and the Museum of Contemporary Art, Chicago, USA.\u003cbr\u003e\u003cbr\u003eContributors\u003cbr\u003eJadine Collingwood, William Pym, Axel Wieder\u003c\/p\u003e\n\u003cp\u003ePaperback \/ 160 pgs\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978956951847,"sku":null,"price":35.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/9781915609335.jpg?v=1698094993"},{"product_id":"michael-snow","title":"Michael Snow","description":"\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eFew filmmakers have had as large an impact on the recent avant-garde film scene as Canadian Michael Snow (b. 1928). His works in a range of media—film, installation, video, painting, sculpture, sound, photography, drawing, writing, and music—address the fundamental properties of his materials, the conditions of perception and experience, questions of authorship in technologically reproducible media, and techniques of translation through written and pictorial representation. His film Wavelength (1967) is a milestone of avant-garde cinema and possibly the most frequently discussed “structural” film ever made. This volume collects essential texts on Snow's work, with essays and interviews spanning more than four decades.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom its earliest issues, October has been a primary interlocutor of Snow's work, and many of these texts first appeared in its pages. Written by such distinguished critics and scholars as Annette Michelson, Hubert Damisch, and Malcolm Turvey, they document Snow's participation in postwar discourses of minimalism, postminimalism, photo-conceptualism, and avant-garde cinema, and examine particular works. Thierry de Duve's essay on linguistics in Snow's work appears alongside Snow's response. The volume also includes other writings by Snow, images from his 1975 work Musics for Piano, Whistling, Microphone, and Tape Recorder, and an interview with the artist conducted by Annette Michelson.\u003c\/span\u003e\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978959376679,"sku":null,"price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/81O-vciaIzL._AC_UF1000_1000_QL80.jpg?v=1698095055"},{"product_id":"michael-snow-wavelength","title":"Michael Snow: Wavelength","description":"\u003cp\u003eAn illustrated study of Michael Snow's “zoom film,” which has become a touchstone for art and film studies.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1966, at the height of minimal art in New York, artist Michael Snow chose not to make another object to be placed in a room but instead spent a year planning a film of a room: Wavelength, a forty-five-minute more or less straight-line zoom from the near to the far wall of a loft space, accompanied by a rising sine wave. In this illustrated study, Elizabeth Legge describes Wavelength as a film of virtuosically managed tensions, sensuous beauty, subtle light and color, and recession into perspectival depth. At the same time, she points out, it is also austere: the loft space where the action unfolds could be the last clerical outpost of a defunct business. The zoom is punctuated by what Snow laconically called “4 human events”: a woman directs two men who carry in a bookcase and place it against the left wall of the room; two women come in and listen to the Beatles' “Strawberry Fields” on the radio; a man briefly appears after protracted crashing and glass-breaking noises, wheels around, and drops dead; a young woman comes into the room and makes a frightened telephone call reporting the dead man (“And he doesn't look drunk, he looks dead.”). Wavelength won the grand prize for experimental film at Knokke-le-Zoute in 1967, and it was crucial to critics' efforts to establish a vocabulary for temporal art. It was a “wavelength” that could stand up to the French new wave, and it has has functioned ever since as a touchstone for art and film studies, and as a blue screen in front of which a range of ideological and intellectual dramas have been played.\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978959409447,"sku":null,"price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/71sS61Qys9L._AC_UF1000_1000_QL80.jpg?v=1698095074"},{"product_id":"pasolinis-bodies-and-places","title":"Pasolini's Bodies and Places","description":"\u003cp\u003eAround 1980 in Rome, a small cooperative around film critics Michele Mancini and Giuseppe Perrella produced a mysterious, elaborate and yet effortless-looking 600-page book of black-and-white photographs entitled Pier Paolo Pasolini: Corpi e Luoghi (Theorema, 1981). According to some reviews of the time this is the most Pasolinian publication to date (Alberto Farrasino), an indispensable tool for future research (Tullio Kezich), not just an illustrated book but a unique model of critique (Adriano Aprà).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWith its relentless and yet playful classification of some 2,000 film stills ranged under the categories of “bodies” and “places”, whatever page we turn to, Mancini and Perrella stage an ever-shifting space.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWith hidden reference to Walter Benjamin and a correspondingly revolutionary attitude, quotation here is understood as a form of “appropriation”, as a practical use of an archive.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn keeping with the great filmmaker’s credo, Pier Paolo Pasolini: Corpi e Luoghi is a colossal attempt to take this enormous amount of material, in book form, where it wants to go. In the introduction, Mancini and Perrella describe their approach similar to the “analytic field” that they see in the film set: “Through film Pasolini is able to elicit out that sort of unconscious, never-discussed code through which in daily life we operate and relate to the world. He makes visible a miscellany of aphasic and hidden practices, a “primitive” realm normally concealed from our “enlightened” societies.”\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEntitled Pasolini’s Bodies and Places and translated by Ann Goldstein and Jobst Grapow, this new quasi-facsimile edition in English is a first step towards an exploration of the original. Mancini and Perrella introduce their compilation of quoted images with a compilation of texts by Pasolini where he describes his own research of bodies and places for his films. These texts were unpublished prior to Corpi e Luoghi. With Stephen Sartarelli’s translations in the present edition they now are fully available in English. The book contains also the original text in Italian.\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978965831975,"sku":null,"price":70.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/61mod9nnJML._AC_UF1000_1000_QL80.jpg?v=1698095646"},{"product_id":"rodney-graham","title":"Mark Leckey: Fiorucci Made Me Hardcore","description":"\u003cp\u003eAn illustrated examination of Mark Leckey's celebrated video montage.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1999, the British artist Mark Leckey released his video-montage Fiorucci made me Hardcore, a dreamscape vignette that communes with the rapturous promises of youth. Putting archive material to use, Leckey entwined footage of underground dance and street culture in Britain with audio grifted and recorded in the artist's studio. In this illustrated study, the first comprehensive examination of the work, Mitch Speed argues that by interweaving personal and collective memory, this work gives voice to the complexities of class and cultural transformation during Britain's Thatcherite era. Oscillating between local and expansive resonances, Fiorucci made me Hardcore takes form as a homage, love letter, and work of criticism that eschews analysis, instead incanting the deeper implications of its subject.\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978979922215,"sku":null,"price":19.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/2022_San-Serriffe_2496.jpg?v=1698094901"},{"product_id":"rodney-graham-phonokinetoscope","title":"Rodney Graham: Phonokinetoscope","description":"\u003cp\u003eRodney Graham's Phonokinetoscope (2001) is a five-minute 16mm film loop in which the artist is seen riding his Fischer Original bicycle through Berlin's Tiergarten while taking LSD, to the soundtrack of a fifteen-minute song (written and performed by Graham) recorded on a vinyl LP. The turntable drives the projection of the film; the film starts when the needle is placed on the record and stops when the needle is taken off. Graham's ride evokes the Swiss scientist Albert Hoffman's famous 1943 bicycle ride home after an experimental dose of LSD as well as Paul Newman's backward-facing ride in Butch Cassidy and the Sundance Kid; the accompanying music presents a thicket of riffs and borrowings. As the images and visual details repeat in the film's endless loop, the artist's Phonokinetoscope refers to a surprising number of works of art and literature, displaying a world rich with subtle meaning.\u003cbr\u003e\u003cbr\u003eIn this illustrated study of Phonokinetoscope, Shep Steiner describes the work as marking Graham's transition into a new medium. Steiner positions Graham's practice in relation to postminimalist practice and that of other artists including Dan Graham, but especially, Ian Wallace and Jeff Wall; considers Graham's rhetoric of playfulness; and finally, beyond the web of references, argues for a notion of allegory and memory theater keyed to the durational work yet satisfying the aesthetic standards of static art. Phonokinetoscope, Steiner argues, looks back to Graham's earlier works focusing on the notion of protocinema and forward to his later musical preoccupations.\u003c\/p\u003e\n\u003cp\u003ePaperback, 6 x 8 in. \/ 120 pgs\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46978979987751,"sku":null,"price":19.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/COVER-GRAHAM-FINAL_web.jpg?v=1698761275"},{"product_id":"signals-how-video-transformed-the-world","title":"Signals: How Video Transformed the World","description":"\u003cp\u003eEdited with text by Michelle Kuo, Stuart Comer. Text by Erika Balsom, Aria Dean, David Joselit, Tiffany Sia, Ravi Sundaram. Plate text by Giampaolo Bianconi, Ina Blom, Erica DiBenedetto, Jason Dubs, Brandon Eng, Ed Halter, Nina Horisaki Christens, Marielle Ingram, Danielle Jackson, Rattanamol Singh Johal, Lina Kavaliunas, Inés Katzenstein, Pamela M. Lee, Glenn Ligon, Oluremi C. Onabanjo, Erica Papernik-Shimizu, Felicity D. Scott, Lilia Rocio Taboada, Wong Binghao, Simon Wu. Annotated timeline by Peter Oleksik.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eVideo is everywhere. Since its debut as a consumer medium in the 1960s, video has shaped our opinions, our politics and our societies. On our phones and computer screens, walls and streets, it defines new spaces and experiences—spreading memes, lies, fervor, fact and fiction. In other words, video has transformed the world.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eFeaturing works from the collection of the Museum of Modern Art, New York, this illuminating exhibition catalog—MoMA’s first major publication on video art in nearly 30 years—explores the ways in which artists have both championed and questioned video’s promise, some hoping to create new networks of communication, democratic engagement and public participation, others protesting commercial and state control over information, vision and truth itself. Lavishly illustrated essays by esteemed scholars and artists—including Ina Blom, Aria Dean, David Joselit, Pamela M. Lee, Glenn Ligon and Ravi Sundaram—highlight video’s widely varied formats, contexts and global reach. 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This lush volume devotes a visual chapter to each, showcasing Almodóvar’s muses—including Victoria Abril, Antonio Banderas, Pina Bausch, Penélope Cruz, Rossy de Palma, Marisa Paredes and Julieta Serrano—and the inspiration he draws from filmmakers such as Ingmar Bergman and Luis Buñuel.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe bilingual (Spanish and English) book also features a new conversation between Almodóvar and film journalist Rachel Handler, a foreword by Tilda Swinton, texts by curators Jenny He and J. Raúl Guzmán, an afterword by Agustín Almodóvar, and a richly illustrated filmography. 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