WRITINGS

Bagdasarov Georgy (2015) “The Film Development in Digital Twighlight.” Academy of Performing Arts of Prague.
Bliss, Lauren (2016) “On Lab laba laba (Spider Lab) and the playful reincarnation of the propaganda films of new order Indonesia.” Desistfilm.
Brown, Carl E. (1989) “AFTER, A Beginner’s Guide to Alchemy.”
Catanese, Rosella & Parikka, Jussi (2018) “Handmade films and artist-run labs: The chemical sites of film’s counterculture.” Necsus.
Chodorov, Pip (2014) “The artist-run film labs,” in Millennium Film Journal n°60, pp. 28-36, New-York City, NY, USA.
Combreau, Lucile, Leszez, Lucie & Nikiforova, Mariya (coord., 2021) Films, textes, textures, n°31 de La Revue Documentaires.
Dutel, Olivier, Grèzes, Anne & Joly, Gaëlle (2011) Kinetica, lieux d’expérimentations cinématographiques en Europe. Vénissieux: La passe du vent.
Falguières, Emmanuel (2016) « Le Rituel en son lieu obscur, pratiques du film argentique. » Colloque arts et Médias.
Fouchard, Olivier (1998) « Autoportraits. »
Greenfield, Luisa et al (2018) Film in the Present Tense: why can’t we stop talking about analogue film? Berlin: Archive Books.
Knowles, Kim (2014) “Self skilling & Home Brewing, some reflections on photochemical film culture,” in Millenium Film Journal n°60, New-York City, NY, USA.
Mandirola, Enrico (2005) « C’est une matière enroulée en spire qui perce le temps. »
Mandirola, Enrico (2011) « El cuento. »
Marsaud Perrodin, Roselyne (2003) « Situation du cinéma expérimental et moyens de production », in Pratiques n°14, Rennes: Presses Universitaires de Rennes.
Molitor Nora (2022) “The reel thing – film laboratories between industry and art”. Shortfilm.de
Nikiforova, Mariya (2019) “The Abominable Community. Notes on Independent Filmmakers’ Laboratories.”
Rey, Nicolas (2009) « Artist-run film labs, an historical perspective. »
Rey, Nicolas (2018) « Enjeux contemporains des laboratoires cinématographiques de cinéastes », in TRAFIC n°108, POL, Paris, France.
Ronceray, Sébastien (2017) « Les 20 ans de L’Abominable », in Cahiers du Cinéma n°729, Paris, France.
Rosa, Maria de & Burgess, Marilyn (2014) “State of the art: Understanding, Appreciating & Promoting Analogue Film Practices in the 21st Century,” a report for the Canadian Council for the Arts.
Rouhi, Mahine « Labo, les saisons à la cave. »
Rousset, Martine (2009) « L’image de l’arbre est dans ma main, le bruissement des feuilles me recueille. »
Rousset, Martine (2012) « Trajectoires. »
Saude, Marcy (2018) “Old Weird Materialism: Production and Distribution of Artist Film,” NECS 2018 conference.
Strike (2011) « Moi, le cinéma, la notion d’expérimental, la prétention d’avant-garde, les dangers de l’idéologie et le nécessité d’ouverture dans la pratique politique. »
Webber, Mark (2016) Shoot shoot shoot, The First Decade of London Film-Maker’s Co-operative, London: LUX.
Yue, Genevieve (2015) “Kitchen Sink Cinema: Artist-Run Film Laboratories.” Film Comment.

Basquin, Guillaume (2013) Fondu au noir, le film à l’heure de sa reproduction numérisée. Paris : Paris Expérimental.
Favel, Thomas (2016) « Persistance du film », in Cahiers du cinéma n° 727, Paris, novembre 2016.
Frampton, Hollis (2012) “Processing parameters, a lecture by Hollis Frampton,” in Millenium Film Journal n°56.
L’Abominable (2015) Digital(e), l’argentique à l’heure du numérique, Cinéma hors capital(e) n°5. Marseille : Editions Commune.
MacKenzie, Scott & Marchessault, Janine (2019) Process Cinema: Handmade Film in the Digital Age. Montreal: McGill-Queen’s University Press.
Marks, Laura U. (2002) Touch: Sensuous Theory And Multisensory Media. Minneapolis: University of Minnesota Press.
Moralesová, Alexandra & Bokšteflova, Lucie & Vojtěch Horálek (2017) Zloději tmy. Prague: Národní filmový archiv.
Nicodemos, Monise (2023) Le cinéma argentique au XXIème siècle, obsolescence et réinvention. Aix-Marseille : Presses Universitaires de Provence.
Rey Nicolas (2017) « L’empreinte, le battement et la révélation », in Jef Klak n°4 (Ch’val de course), pp. 206-210, Paris.
Takahashi, Tess (2008) “After the Death of film: Writing the Natural World in the Digital Age,” in Visible Language, 42 no1. pp. 44-69.

Doing, Karel (2020) “Phytograms: rebuilding human-plant affiliations,” in Animation n°15, pp. 22-36.
Dwoskin, Steven (1975) Film is: the International Free Cinema. New York: Overlook Press.
Hill, Helen (2005) Recipes For Disaster, A Handcrafted Film Cookbooklet.
Hinshaw, Kate (2019) Analog Cookbook.
Juhasz, Alexandra (2001) Women of vision: histories in feminist film and video. London, University of Minnesota Press.
Lebow, Alisa (2012) The cinema of me: the self and subjectivity in first person documentary. London: Wallflower Press.
Lipton, Lenny (1972) Independent filmmaking. New York: Simon and Schuster.
Martin, Noelie (2016) « Pratique des émulsions artisanales. »
Mellencamp, Patricia (1990) Indiscretions: avant-garde film, video & feminism. Bloomington: Indiana University Press.
Ramey, Kathryn (2016) Experimental Filmmaking, Break the Machine. London and New York: Routledge.
Reekie, Duncan (2007) Subversion: The Definitive History of Underground Cinema. London: Wallflower Press.
REMI – Issue #1 (2017) Re-Engineering The Moving Image. Nantes: REMI.
Russell, Catherine (1999) Experimental ethnography. Durham: Duke University Press.
Sargeant, Jack (2001). Deathtripping The Cinema of Transgression. London: Creation Books.
Schlemowitz, Joel (2019) Experimental filmmaking and the motion picture camera: an introductory guide for artists and filmmakers. Routledge.
Tyler, Parker (1995) Underground Film: A Critical History. Harmondsworth: Penguin.
Urlus, Esther (2007) To Boldly Go: a starters guide to hand made and DIY films.
Urlus, Esther Re:Inventing The Pioneers: film experiments on hand made silver gelatin emulsion and color methods. Rotterdam.

Bagdasarov, Georgy & Moralesová, Alexandra (2017) Buenos Aires Experiment. Prague: Academy of Performing Arts.
Brenez, Nicole & Lebrat, Christian (2001) Jeune, dure et pure! : Une histoire du cinéma d’avant-garde et expérimental en France. Paris : Cinémathèque Française.
Curtis, David (2007) A History of Artists’ Film and Video in Britain. London: BFI publishing.
Curtis, David (2020) London’s Arts Labs and the 60s Avant-Garde. Bloomington: Indiana University Press.
Devaux, Frédérique (1992) Le Cinéma Lettriste. Paris: Paris Expérimental.
Deville, Vincent (2014) Les formes du montage dans le cinéma d’avant-garde. Rennes: Presses Universitaires de Rennes.
Doing, Karel (2017) “Towards a post-materialist practice in expanded cinema,” in Journal of Arts Writing by Students, v3 n°1 (20170901), pp. 79-89.
Dixon, Wheeler W. & Foster, Gwendolyn A. (2002) Experimental cinema: the film reader. London & New York: Routledge.
Elwes, Catherine (2015). Installation and the Moving Image. London: Wallflower Press.
Hamlyn, Nicky (2003) Film Art Phenomena. London: British Film Institute.
Ingen, Sami van (2012) Moving Shadows: Experimental Film Practice in a Landscape of Change. Helsinki: Finnish Academy of Fine Arts.
Knowles, Kim (2020) Experimental Film and Photochemical Practices. London: Palgrave MacMillan.
Kuenzli, Rudolf E. (1987) Dada and surrealist film. New York: Willis, Locker & Owens.
Le Grice, Malcolm (1995) Underground Film: A Critical History. Harmondsworth: Penguin.
Littman, Stephen & Hatfield, Jackie (2006) Experimental Film and Video: An Anthology. London: Palgrave McMillan.
MacKenzie, Scott (2021) Film Manifestos and Global Cinema Cultures: A Critical Anthology. Berkeley: University of California Press.
Mekas, Jonas (2016) Movie Journal: The Rise of the New American Cinema, 1959-1971. New York: Columbia University Press.
O′pray, Michael (2003) Avant-Garde Film: Forms, Themes and Passions. London: Wallflower.
Osterweil, Ara (2014) Flesh cinema: The corporeal turn in American avant-garde film. Manchester: Manchester University Press.
Pick, Anat & Narraway, Guinevere (eds.) (2013). Screening Nature: Cinema beyond the Human. New York: Berghahn Books.
Rees, A.L et al (eds.) (2011) Expanded cinema: Art Performance Film. London: Tate Gallery Pub.
Rees, A.L (1999) A history of experimental film and video: from the canonical avant-garde to contemporary British practice. London: Bloomsbury.
Sitney P. A. (1978) The Avant-garde Film: a Reader of Theory and Criticism. New York: New York University Press.
Smith, Vicky & Hamlyn, Nick (2018) Experimental and Expanded Animation: New Perspectives and Practices. Basingstoke: Palgrave Macmillan.
Wees, William (1992) Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde. Berkeley: University of California Press.
Wees, William (1993) Recycled Images: The Art and Politics of Found Footage Films. New York: Anthology Film Archives.
Youngblood, Gene (1970) Expanded cinema. New York: Dutton.

Hamlyn, Nicky, Payne, Simon & Rees, A. L. (2016) Kurt Kren: Structural Films. Bristol: Intellect.
Knowles, Kim (2009) A cinematic artist: the films of Man Ray. Bern: Peter Lang.
Nichols, Bill (2001) Maya Deren and the American avant-garde. Berkeley: University of California Press.
Pierson, Michele, James, David E. & Arthur, Paul (2011) Optic Antics: The Cinema of Ken Jacobs. Oxford: Oxford University Press.
Rey, Nicolas (2016) « Je m’en vais lire en refilmant, entretien avec Martine Rousset » in Jef Klak n°2 (Bout d’ficelle), pp. 38-41.
Sandlos, Karyn & Hoolboom, Mike (2014) Landscape with Shipwreck: First Person Cinema and the Films of Philip Hoffman. Toronto: Insomniac Press.
Sutton, Gloria (2015) The experience machine: Stan VanDerBeek’s Movie-Drome and expanded cinema. Cambridge, Massachusetts: The MIT Press.
Walley, Joseph & Eamon, Chris (2005). Anthony McCall: the Solid Light Films and Related Works. Göttingen: Steidl

Baudry, Jean-Louis (1974) “Ideological effects of the basic cinematographic apparatus,” in Film Quarterly n°28 (2), pp. 39-47.
Brakhage, Stan, and P. Adams Sitney (1963) Metaphors on vision. New York: Film Culture.
Deren, Maya (2005) Essential Deren: collected writings on film. Kingston: Documentext.
Dziga Vertov and Annette Michelson (1992) “Kino-Eye: The Writings of Dziga Vertov.”
Everleth, Mike (2018. 1985) “The Cinema of Transgression Manifesto is Published.”
Gidal, Peter (1978) Structural Film Anthology. London: British Film Institute.
Mulvey, Laura. (1975) “Visual pleasure and narrative cinema”. Screen.

Doing, Karel (2017) Ambient Poetics and Critical Posthumanism in Expanded Cinema. PhD Thesis. University of the Arts, London.
Nikiforova, Mariya (2016) Laboratoires photochimiques indépendants : politique, technique, esthétique. Mémoire de Master 2 sous la direction de N. Brenez, Université Sorbonne Nouvelle – Paris III.
Pires, Sophia (2017) The Living Film Collection: A Workshop for the Production of Informal Film Memories. Master thesis Heritage studies. University of Amsterdam.
Raspanti, Morgan (2020) “Do it yourself”: Artist-Run Film Labs in the Age of Digital Cinema, Master of Arts in international affairs, The New School, New-York.