"Written with careful precision and breadth. . . chronicling a rich, 100-year history of handmade moviemaking in which artists similarly trespass into other areas of creative practice."—Los Angeles Review of Books
"Gregory Zinman’s excellent new book on movies made (or remade) through the direct, often tactile engagement of artists and their filmstrips, video-feedback loops, and myriad other animated oozes and vibrant viscosities, Making Images Move: Handmade Cinema and the Other Arts is everything one wants in this age of over-scribbling at the margins of cinema. Lucid, smart, but entirely readable, and compellingly illuminated with color illustrations of the wonders it describes . . ."—Cinema Scope Magazine
“Gregory Zinman traces a bold new path through the history of media art. Putting aside the emphasis on photographic representation that has been a near-constant in debates concerning filmic ontology, Zinman turns to the handmade and the abstract, finding there a rich set of artistic practices and an opportunity to probe timely theoretical questions. Essential reading for scholars of contemporary art and media.”—Erika Balsom, author of After Uniqueness: A History of Film and Video Art in Circulation
“Making Images Move offers at once a lively account of cameraless cinemas, an invaluable supplement to the study of experimental and avant-garde film, and a compendium to the study of contemporary digital and interactive cinemas that have redefined the conventions of commercial entertainment.”—Akira Lippit, author of Cinema without Reflection: Jacques Derrida’s Echopoiesis and Narcissism Adrift?
“A much-needed celebration of the achievements of these artists, many of whom are almost entirely unaccounted for in the literature of the field. Zinman has unearthed a wealth of original material in this comprehensive and compelling history.”—Roger Rothman, author of Tiny Surrealism: Salvador Dalí and the Aesthetics of the Small
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“Gregory Zinman expands and deepens our understanding of the impact of the moving image on art and culture. He deftly constructs a critical method and historiography that embraces diverse modalities of moving-image making, and in the process, he rethinks the boundaries of the moving image itself. There’s a lot to discover in this book! An important and beautifully illustrated volume that should be read by every student of film, video, media, and art history.”—John Hanhardt, curator and author of Bill Viola