Peter Wollen

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The problems of film aesthetics are considered within the context of all modes of communication and expression

Signs and Meaning in the Cinema

Semiotic Counter-Strategies

Readings & Writings

The Situationist International 1957-1972 (Inst of Contemporary Art, Boston)

On the Passage of a Few People Through a Rather Brief Moment in Time

Richard Dyer

Jean Fisher

Tina Keane

Tina Keane first came to prominence in the late 1970s with her performance work and involvement in setting up London feminist film collective Circles. Since then she has become an internationally acclaimed artist working in a wide variety of media, including video, neon sculpture and installation. "Electronic Shadows is the first study of her work, bringing together her diverse career and oeuvre in the context of a wider history of the visual arts. During the 1980s and 90s Tina Keane developed her video work, incorporating a strong decorative aesthetic with personal narratives, building on her experimental film, video and performance from the 1970s and early 80s. "Electronic Shadows explores the diversity of Keane's practice, considering her relationship to and influence on contemporary video art, and situating her films within a broader context of artist's film from the late 70s onwards. With extensive illustrations this volume documents Keane's work and her wide influence on contemporary artists such as Tracey Emin, Tim Noble and Sue Webster.

The Art of Tina Keane

Electronic Shadows

First published in 1969, Signs and Meaning in the Cinema transformed the emerging discipline of film studies. Remarkably eclectic and informed, Peter Wollen's highly influential and groundbreaking work remains a brilliant and accessible theorisation of film as an art form and as a sign system. The book is divided into three main sections. The first explores the work of Sergei Eisenstein as film-maker, designer and aesthetician. The second, which contains a celebrated comparison of the films of John Ford and Howard Hawks, is an exposition and defence of the auteur theory. The third formulates a semiology of the cinema, invoking cinema as an exemplary test-case for comparative aesthetics and general theories of signification. Wollen's Conclusion argues for an avant-garde cinema, bringing post-structuralist ideas into his discussion of Godard and other contemporaries. Published as part of the BFI Silver series, this fifth edition features a new foreword by film theorist David Rodowick and brings together material from the four previous editions, inviting the reader to trace the development of Wollen's thinking, and the unfolding of the discourse of cinema.

Jim Hillier

This is an anthology of the best criticism produced about Hawks' films. Among the critics collected together in this book are Andrew Sarris and Robin Wood who go towards demonstrating the coherence and integrity of Hawks' work.

American Artist

Howard Hawks

Anthony Vidler

Ralph Rugoff

Hammer Museum

University of California, Los Angeles. Armand Hammer Museum

Fellows of Contemporary Art (Los Angeles, Calif.)

Armand Hammer Museum of Art and Cultural Center

The book is not about works of art that simply document criminal acts. Rather, it is about a strain of art that presents the art object as a clue to absent meanings or actions.

Scene of the Crime

Geoff Andrew

Singin' in the Rain

Peter Wollen's book is based on the premise that there are no fixed ways of writing about film.

Writings on Film

Paris Hollywood

Greil Marcus

Elisabeth Sussman

Mark Francis

Centre Pompidou (Parijs)

Institute of Contemporary Art (Boston, Mass.)

Musée national d'art moderne (France)

Tom Levin

Mirella Bandini

Troels Anderson

Essays discuss an avant-garde movement of European artists who attempted to transform everyday life through paintings, films, and manifestos

The Situationist International, 1957-1972

Peter Wollen is a master in the art of making unexpected connections, and this new book suggests many different ways of writing and thinking about art.

Writings on Art

Paris/Manhattan

Joe Kerr

The reach of the car today is almost universal, and its effect on landscapes, cityscapes, cultures – indeed, on the very fabric of the modern world – is profound. Cars have brought benefits to individuals in terms of mobility and expanded horizons, but the cost has been very high in terms of damage to the environment and the consumption of precious resources. Despite the growing belief that a Faustian price is now being paid for the freedom cars have bestowed on us, we are none the less manufacturing them in ever greater numbers. Autopia is the first book to explore the culture of the motor car in the widest possible sense. Featuring newly commissioned essays by writers, critics, historians, artists and film-makers, as well as reprinting key texts, it examines the effect of the car throughout the world, including the USA, Western and Eastern Europe, Japan, China, Cuba, India and South Africa. In this book the car is treated neither as a technological fetish object nor as an instrument of danger. Instead, it is examined as a hugely important determinant of 20th-century culture, neither wholly good nor an unmitigated disaster, and certainly endlessly fascinating. Contributors include Michael Bracewell, Ziauddin Sardar, Al Rees, Martin Pawley, Donald Richie and Peter Hamilton. Key texts by Marshall Berman, Jane Jacobs, Roland Barthes, Marc Augé and others.

Cars and Culture

Autopia

Peter Wollen

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