Filmmakers from C to D

List of filmmakers organised by last name from C to D


  • Robert Cahen

    Video artist, director, composer by training, Robert Cahen is a major figure in the field of video creation.  Coming from the frontiers between different visual arts, he is a pioneer in the use of electronic instruments.

    After studying composition in concrete music at the Research Department of the ORTF (with, among others, Michel Chion), a graduate of the CNSM in Paris (Pierre Schaeffer class) in 1971, he became a composer for the Musical Research Group of the ORTF.  During this period, he pursued experimentation and creation in the fields of sound, but also of image. He turned to the medium of video in 1970, applying the technical and linguistic experiments of concrete music.

    Robert Cahen's work is recognizable by his way of dealing with slow motion, his way of exploring sound in relation to image to build his poetic universe. He multiplies the effects of sliding, alteration of movement, contraction and dilation of time – processes that allow him to explore the metaphor of passage, the memory of images that come and go, to question passing time. .

    Robert Cahen's works are present in various public collections in France and abroad.  Among them :

    ZKM in Karlsruhe, Center for Contemporary Image in Geneva, AIACE in Milan, Museum of Modern Art in New York (MoMA), Frac/Alsace, Museum of Modern and Contemporary Art in Strasbourg (MAMCS), Center Pompidou, Harris Museum in Preston...

    In addition, in 2010, the Jeu de Paume (Paris) hosted a complete retrospective of his films and videos.  Cahen was the winner of the Villa Médicis Hors les Murs prize in 1992. In 1995 he produced a permanent video installation in Lille on the Euralille site.  A boxset containing a large part of his artistic production was released in 2011 (production gap), including a CD of his first musical compositions.  The MAMCS devoted an exhibition to his work in 2014 on the theme of "glimpsing".


  • Carpets Curtains

    Combining live audio “micro-improvisations” (refined by musician Ivan Palacky) with live video manipulations (by video and VJ-artist Filip Cenek aka VJ Vera Lukasova), Carpets Curtains express an engaging and nuanced interplay of audio and visual material. With live visuals being mostly based on self-made video sequences in which emphasis is placed on ambiguous "narration" whilst VJ software-mistakes are used to reach new amoebic image qualities, the result is a principle or method of remaining fixed to moving images while vacating the essential aspects for building concrete meaning. Such visual approaches find parallel in Palacky’s delicate musicalities, in which found objects and minimal electronics are fused to create elegantly small sound mixtures.

  • Cinexperimentaux

    A series of documentary portraits of contemporary experimental filmmakers including films by the artists.

  • Pip Chodorov

    Pip CHODOROV. Born April 13, 1965 in New York. Filmmaking and music composition since 1972. Studied cognitive science at the University of Rochester, NY and film semiotics at the University of Paris, France. Work in film distribution - previously Orion Classics, NYC; UGC, Paris; Light Cone, Paris; and, currently, Re:Voir Video, Paris, which he founded in 1994 ( and The Film Gallery, the first art gallery devoted excusively to experimental film ( He is also co-founder of L'Abominable, a cooperative do-it-yourself film lab in Paris, and the moderator of the internet-based forum on experimental film, FrameWorks

  • René Clair

    René Clair (11 November 1898 – 15 March 1981) born René-Lucien Chomette, was a French filmmaker and writer. He first established his reputation in the 1920s as a director of silent films in which comedy was often mingled with fantasy. He went on to make some of the most innovative early sound films in France, before going abroad to work in the UK and USA for more than a decade. Returning to France after World War II, he continued to make films that were characterised by their elegance and wit, often presenting a nostalgic view of French life in earlier years. He was elected to the Académie française in 1960. Clair's best known films include The Italian Straw Heat (1928), Under the Roofs of Paris (1930), Le Million (1931), À Nous La Liberté (1931), I Married a Witch (1942), and And Then There Were None (1945).

  • Bastian Clevé

    Bastian Clevé, born 1 January 1950 in Munich, is a German filmmaker and producer. He is Professor and Head of the Film Production-Department at the Film Academy Baden-Wuerttemberg in Ludwigsburg, Germany.

  • Paul Clipson

    Paul Clipson (1965-2018) was a San Francisco-based filmmaker and experimental film artist whose work involves projected installation and live collaborative performances with sound artists and musicians. His largely improvised, in-camera-edited films bring to light subconscious preoccupations and unexpected visual forms. He showed his films internationally in various galleries, festivals and performance venues in Belgium, Spain, Germany, The Netherlands, Italy, Switzerland, Japan and Russia, as well as throughout the U.S. He works primarily in film, video and on paper, often collaborating on films, live performances and installations with sound artists and musicians such as Tarentel, projecting largely improvised in-camera edited experimental films employing multiple exposures, dissolves and macro imagery that bring to light subconscious preoccupations and unexpected visual forms.

  • Tony Conrad

    Tony Conrad (born Anthony S. Conrad in 1940) is an American avant-garde video artist, experimental filmmaker, musician/composer, sound artist, teacher and writer.

    Support for Conrad's work has come from the National Edowment for the Arts, the New York State Council on the Arts, the State University of New York, The Rockefeller Foundation and the New York Foundation for the Arts.

  • Dada Cinéma

    Dada was an artistic and literary movement that began in 1916 in Zurich, Switzerland. It arose as a reaction to World War I, and the nationalism, and rationalism, which many thought had brought war about.

  • Jim Davis

    Film-maker Jim Davis (1901-74) was raised in West Virginia and attended college at Princeton University; save for some years of study in France, and a period in the 1930s during the Depression, when he taught in West Virginia, he spent most of his life at Princeton. He was a painter as well as a member of the art department at the University. His interest in experimentation led him, in the 1930s, to paint on glass and on plastic instead of canvas.

  • Paul and Menno De Nooijer

    Originating from Eindhoven, the Netherlands, Paul De Nooijer started to work with his son in 1989 as a filmmaker and performer. Their work is located at the crossroads of photography, animation and theatre.  

  • Dirk de Bruyn

    Dirk de Bruyn has made numerous experimental, documentary and animation films and videos over the last 30 years. He has received funding to produce a number of films, but has continued to maintain a no-budget, independent, self-funded focus for much of his work.

    He was a founding member and past president of MIMA (Experimenta), been involved with Fringe Network and been a member of the Melbourne Super 8 Film Group. He has written about and curated various programs of film and video art internationally and written extensively about this area of arts practice. During the late '90s he was involved in an independent weekly screening program of film and video art at the Café Bohemio.

    In the early '90s de Bruyn lived in Canada. Understanding Science, Rote Movie and Doubt were largely produced while teaching Animation at Emily Carr College of Art and Design in Vancouver.

    He is currently teaching Animation and Digital Culture at Deakin University in Melbourne, Victoria. (Burwood Campus).

  • Storm De Hirsch

    Storm de Hirsch (1912–2000) was an American poet and filmmaker. She was a key figure in the New York avant-garde film scene of the 1960s, and one of the founding members of the Film-Makers' Cooperative. Although often overlooked by historians, in recent years she has been recognized as a pioneer of underground cinema.


    Born Lillian Malkin in New Jersey in 1912, Storm de Hirsch left home at an early age to pursue a career in the arts in New York City. There she married her first husband, an artist named de Hirsch. She later married Louis Brigante, a filmmaker and one of the early editors of Film Culture magazine; the marriage lasted until Brigante's death in 1975.

    Like many experimental filmmakers at the time, de Hirsch did not begin her artistic career as a filmmaker; she was a poet who had published at least two collections by 1965. She turned to filmmaking because she wanted to find a new mode of expression for her thoughts that went beyond words on the page. In 1962 she made her first film and soon became active in the New York underground film movement, associating with filmmakers such as Stan Brakhage, Jonas Mekas, Shirley Clarke and others. In an interview with Jonas Mekas she mentioned Jack Smith, Ingmar Bergman, Gregory Markopoulos, Michelangelo Antonioni, Vittorio De Seta, Ken Jacobs, Federico Fellini and Jonas and Adolfas Mekas as her favorite filmmakers.

    In addition to making films, de Hirsch taught at various institutions, including Bard College and New York's School of Visual Arts. After her husband's death she was forced to give up her studio, and stopped making films. She died in a Manhattan nursing home in 2000, following a long battle with Alzheimer's disease.


    Much of de Hirsch's work is abstract and employs a number of experimental techniques, such as frame-by-frame etching and painting and metadiagetic editing. In an interview with Jonas Mekas on the making of Divinations she said,

    "I wanted badly to make an animated short and had no camera available. I did have some old, unused film stock and several rolls of 16mm sound tape. So I used that — plus a variety of discarded surgical instruments and the sharp edge of a screwdriver — by cutting, etching, and painting directly on both film and sound tape."

    Sometimes her animations are superimposed over live-action footage. Her films are clearly influenced by her poetic background; she referred to her series of short, silent films shot in the 1970s as "Cine-Sonnets," and she continued publishing poetry throughout her life. Her films also reveal an interest in eastern religious practices and rituals. Her work explores the possibilities of light and is concerned with spatial elements. In one film, Third Eye Butterfly, she used a two-screen projection with split-screen frames to create a kaleidoscopic effect.

    Not all of de Hirsch's films are cheaply made animated shorts. One of her early films, Goodbye in the Mirror (1964), is a feature-length live-action film shot on location in Rome, with her husband, Louis Brigante, serving as assistant director. Part scripted, part improvised, the film centers on three young women living in Rome, searching for meaning in their lives. The film was shot on 16mm and later blown up to 35mm, at a cost of around $20,000.

    Her films have been screened at the Museum of Modern Art, the Whitney Museum of American Art, the Cannes Film Festival, the Ann Arbor Film Festival and elsewhere. They are available through the Canyon Cinema Cooperative and the Film-Makers' Cooperative.

    The following films are undated:

    • And Send My Love to the Wind
    • Cruger's Landing
    • Heathrow
    • Hello Tree
    • Swan's Way

    She also appears in Piero Heliczer's Dirt (1965), Gregory Markopoulos's Galaxie (1966), and Jonas Mekas's Birth of a Nation (1997), and composed music for the soundtrack of Mekas's Film Magazine of the Arts (1963).


    According to the Museum of Computer Art, de Hirsch's work "influences and anticipates the work of many later and current video artists." Her use of technical devices such as painting and etching directly on the film stock has been called pioneering, although those techniques had been used before by Len Lye, Stan Brakhage, and others. Tools and techniques aside, critics have characterized other aspects of her work as inventive or groundbreaking. Stan Vanderbeek called The Tattooed Man "a major work in terms of style, structure, graphic invention, image manipulation and symbolic ritual." Gwendolyn Foster cites Journey Around a Zero (1963) for its unusual treatment of male nudity, which reverses the cinematic tradition in which male filmmakers objectify the female body. Shirley Clarke, noting that Goodbye in the Mirror focuses on female characters and their reactions to a series of events, called it the first "real woman's film"; Wheeler Dixon cites it as an "example of early Feminist cinema that led to the later work of Yvonne Rainer, Jane Campion, Sally Potter, Julie Dash and others.

  • Maya Deren

    Maya Deren (April 29, 1917 – October 13, 1961), born Eleanora Derenkowskaia, was one of the most important American experimental filmmakers and entrepreneurial promoters of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer and photographer.

  • Cécile Déroudille

    French screenwriter, director and director of photography whose work includes documentaries and short films.

  • Patrick Deval

    Patrick Deval made his first short in 1966 followed by another short, Héraclite l’obscur. He shot one more film under Boissonnas’ patronage, Acéphale bis. The widely travelled Deval’s subsequent returns to filmmaking have all been documentaries.
    He went to high school in Paris; his teacher of French and Latin was Henri Agel, a cinema critic who had set up a cine club in the Lycée from Cicero to F. W. Murnau, from Racine to Fritz Lang, from Molière to Kenji Mizoguchi; he became cinéphile, haunted the Cinemathèque, met Henri Langlois and Jean Douchet. He did Zoe Bonne in 1966 (he was then 22), it was more out of respect for Jean Renoir and under the influence of comedy à la française. It’s a strangely classical first film.
    He was interested in documentary since he saw Nuit et brouillard [Alain Resnais, 1956] when he was 16. But the real trigger came after ’68, while he discovered the South, from where he could see the ignorance of the North, and "naïvely thought could document to alleviate it".

  • Frédérique Devaux

    Frédérique Devaux is a French-Berber experimental filmmaker. Since the early 1980s she has been one of the most internationally well-known representatives of Lettrist cinema. She has devoted several works to the Lettrist movement, the cinema and monographs. Together with Michel Amarger, she is the co-author of a series of film called ‘Expérimentaux’. 

  • Kriszta Doczy

    Kriszta Doczy, formerly Krisztina Bodonyi (born 9 October 1949), is a Hungarian born Australian film producer and founder of Contemporary Arts Media, a distributor of art films.

  • Vivienne Dick

    Vivienne Dick (born 1950) is an Irish feminist experimental and documentary filmmaker. Her 2014 fllm, The Irreducible Difference of the Other]', acknowledges her longstanding interest in Luce Irigaray. Her early films helped define the No Wave scene. According to The Irish Times, "one of the most important film-makers Ireland has produced".[1]

    Dick was born in Donegal and grew up in Ireland during the 1950s, attending University College there in the 1960s. She emigrated to the United States in the 1970s. Upon her arrival in the U.S., Dick became an integral figure in No Wave film culture and produced a series of seminal Super8 short films. Living in New York, which was undergoing a recession and an inexpensive place to live, many of her films were staged around well-known sites such as Coney Island, the Statue of Liberty, and the World Trade Center. The films featured punk performers such as Lydia Lunch, Pat Place (of the band Bush Tetras) and Adele Bertei (of The Contortions). Film critic and author J. Hoberman has called Dick the "quintessential No Wave filmmaker".[2]

    Dick currently teaches filmmaking at Galway-Mayo Institute of Technology.[3]

    In 1982 Dick moved to Ireland, and then to London where she continued making films. Today she lives in Galway.

    Her work is examined in the 2010 documentary Blank City, which discusses the No Wave movement. She is referenced by the feminist dance-punk group, Le Tigre, in their song "Hot Topic."

  • Stanislav Dorochenkov

    Stanislav Dorochenkov is an actor and filmmaker who lives and works in France.

  • Germaine Dulac

    Germaine Dulac (maiden name: Germaine Saisset-Schneider) is a French filmmaker born on 17 November 1882 in Amiens, France and died on 20 July 1942 in Paris, France. 

  • Jean Dubuffet

    Jean Dubuffet was born in Le Havre 31 July 1901 and died in Paris May 12, 1985, is a painter, sculptor and French artist.

  • Stephen Dwoskin

    Stephen Dwoskin was born in New York in 1939 and began making independent shorts there in 1961. In 1964 he followed his research work to London where he settled and participated in the founding of the London Filmmaker’s Co-op. His experimental films, for which he himself does the camera work, play with ideas of desire, sexual and mental solitude and the passage of time. In his films he also explores representation in cinema, performances, personal impressions and his own physical handicap which has been a source of inspiration for him throughout his career. 

    Dwoskin died on 28th June 2012 in London. His sensitive and emancipating works have been the subject of various international presentations.

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