From A to M

List of authors organized by last name from A to M


  • Giannalberto Bendazzi
  • André Almuró
  • Raphaël Bassan

    Raphaël Bassan (born 1948) is a French film critic and journalist who has specialized in experimental film and the history of cinema. He has also made three short movies.

  • Gaël Badaud
  • Morgan Boëdec
  • Stan Brakhage
  • Robert Breer

    Robert Carlton Breer (September 30, 1926 – August 11, 2011) was an experimental filmmaker, painter, and sculptor.

    "A founding member of the American avant-garde," Breer was best known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials.  His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand Léger, whose work he discovered while living in Europe. Breer was also influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely.

    After experimenting with cartoon animation as a child, he started making his first abstract experimental films while living in Paris from 1949 to 1959, a period during which he also showed paintings and kinetic sculptures at galleries such as the renowned Galerie Denise René.

    Breer explained some of the reasons behind his move from painting to filmmaking in a 1976 interview:

    This was 1950 or '51... I was having trouble with a concept, a very rigid notion about painting that I was interested in, that I was involved with, and that was the school of Mondrian. [...] The notion that everything had to be reduced to the bare minimum, put in its place and kept there. It seemed to me overly rigid since I could, at least once a week, arrive at a new 'absolute.' I had a feeling there was something there that suggested change as being a kind of absolute. So that's how I got into film.

    — Robert Breer, Transcription of 'Screening Room with Robert Breer (1976)'

    Breer also taught at Cooper Union in New York from 1971 to 2001.


  • James Broughton
  • Giordano Bruno
  • Dojo Cinéma
  • Gérard Courant
  • Eugène Deslaw
  • Patrick Deval
  • Gustav Deutsch
  • Peter Gidal
  • Cécile Fontaine

    Born in 1957 in south of France, grew up in a French oversea « departement » named « Ile de la Réunion » in the Indian Ocean ; studied art both in France (1975/1979) and in the United States (Boston 1980/1986) where she started making film in 1982 after taking an evening film class at Massachussetts College of Art then registering full time at School of Museum of Fine Arts, majoring cinema. Returned in France in 1986 and lives since then in Paris, teaching art fulltime in a primary school and making films.

    « Cécile FONTAINE works with what can be called margins, the excluded parts of cinema,, revindicating scratching, soaking, de-collage and so filmmaking passes as a primarily plastic activity, with almost no material resources, renewing at once with the first major steps of the Dadaists in their collage –principally in the works of Schwitters and especially the collage of Hannah Höch executed with a kitchen knife and the work of recycling or how to make art without having the air to have touched it. » Yann BEAUVAIS

  • Léa Gauthier
  • Noureddine Ghali
  • Boris Lehman
  • Robert A. Haller

    American Photographer

  • Nicky Hamlyn
  • Marcel Hanoun
  • Teo Hernandez
  • Mike Hoolboom
  • Takahiko Iimura
  • Isidore Isou
  • Joris Ivens
  • Jakobois
  • Friedl Kubelka

    Friedl Kubelka is an Austrian filmmaker and photographer. She makes art that is part of a larger movement known as Feminist Actionism, which is a 20th-century movement also known as Viennese Actionism, where female artists would use their sexuality to express their innermost selves on camera.

  • Peter Kubelka
  • Christian Lebrat
  • Giovanni Lista

    Giovanni Lista is an Italian art historian and art critic born in Italy on February 13, 1943 at Castiglione del Lago (Perugia) and now living in Paris. He is a specialist in the artistic cultural scene of the 1920s, particularly in Futurism.

  • Maurice Lemaître
  • Jonas Mekas
  • Rose Lowder
  • Stefano Masi
  • Adolfas Mekas
  • Pierre Merejkowsky
  • Maria Klonaris

    Nationality: egyptian & french & greek

    Maria Klonaris passed away on Monday, January 13, 2014. She and Katerina Thomadaki have been producing for more than forty years a fascinating cinematographic and plastic work, on the borders of experimental cinema, body performance, installation and technological art.

    Born in Egypt in 1950 to Greek parents, both doctors, Maria Klonaris grew up in the cosmopolitan Alexandria of the 1950s. After the Suez Crisis, the family moved to Athens. Maria Klonaris attended high school at the American College. At the Athens School of Fine Arts, she received training in scenography and stage design. She publishes several albums of drawings and signs theatre posters, book covers and illustrations. She began her artistic collaboration with Katerina Thomadaki when they created and directed the Théâtre des 4, the first as set designer, the second as director (Les Bonnes, 1968; Salomé, 1969).

    From the moment they moved to Paris in 1975, Klonaris and Thomadaki formed an inseparable pair. Klonaris/Thomadaki conceived vast cycles that ran over several years and developed in several artistic disciplines: Body Tetralogy, Unheimlich Cycle (around the "disquieting strangeness" of the Feminine), Hermaphrodite Cycle, Electra's Dream, Portrait Series, Angel Cycle, Sublime Disasters. The Twins... With these recurring figures that are out of the ordinary, they question the frontier between the sexes. Well before the emergence of the queer movement, Klonaris/Thomadaki's work, nourished by critical thought (psychoanalysis, philosophy, sociology, feminist thought...), looks at gender and intersexuality.

    As a teenager, Maria Klonaris discovered the clinical photograph of a hermaphrodite in the archives of her father, a gynaecologist and obstetrician. It will be the generating figure of their largest cycle. This image of the "angel" has been part of a series of works since 1985: immersive installations, artists' books, photographs and videos. In the video Requiem pour le XXe siècle (1993), Klonaris/Thomadaki juxtaposed it with archival images from the Second World War, demonstrating that through this "marginal" figure, it is in fact about questioning the whole of humanity: "Wandering and motionless consciousness, in the face of the events that explode before his abolished gaze, the Angel becomes in turn observer, witness, victim and judge, a different body persecuted, burnt knowledge, irradiated body, scene of memory."

    By combining "expanded cinema" and in-situ work, Klonaris/Thomadaki develop installations and projection environments, often monumental, in museums or abandoned places. Examples include Mystère I: Hermaphrodite endormi/e (Paris, 1982), Le Rêve d'Electra (Villeneuve-Lès-Avignon, 1986), Night Show for Angel (London, 1992), XYXX: Mosaic Identity (Linz, 1994), Stranger than angel (Ljubljana, 2002).

    The political dimension of Klonaris/Thomadaki's work is always combined with a force of plastic revelation. The philosopher Marie-José Mondzain has underlined the paradoxical alliance of a high tradition of the sacred image, of which they are the heirs, and a very innovative practice of media arts.

    It would be sterile to try to untangle the part that each of the two artists play in creations that result from a common elaboration, in the secrecy of the studio. On the other hand, we can venture to recognize some of the traits of Maria Klonaris' luminous artistic personality: a magnetic gaze, sharp gestures.

    In 2000, the Cinémathèque Française devoted several programmes to them as part of the retrospective "Jeune, dure et pure! A history of avant-garde and experimental cinema in France". Subsequently, the CNC's French Film Archives and the National Library of France worked with the artists to build up their archives, fixed on fragile supports, into an enduring heritage. Restored under their direction, the films Selva (1981-83), Chutes. Désert. Syn (1983-85), Unheimlich 1: Dialogue Secret (1977-79) were admired by audiences in several countries, hypnotized by these secret ceremonies in which repressed powers are awakened. This two-headed work continues its journey.

    – Alain Carou (curator) (BnF, Audiovisual Department)

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