Elder examines how artists such as Brakhage, Artaud, Schneemann, Cohen and others have tried to recognize and to convey primordial forms of experiences. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.

R. Bruce Elder is a filmmaker, critic, and teacher (and former Program Director) in the Graduate Program in Communication and Culture at Ryerson University. His film work has been screened at New York’s Museum of Modern Art and Millennium Film Workshop, Berlin’s Kino Arsenal, Paris’ Centre Pompidou, the San Francisco Cinematheque, Atlanta’s High Museum, Los Angeles’ Film Forum, Stadtfilmmuseum München, and Hamburg’s Kino Metropolis. Retrospectives of his work have been presented by Anthology Film Archives (NY), the Art Gallery of Ontario, Cinématheque Québecoise, Il Festival Senzatitolo (Trento), Images Film and Video Festival (Toronto). Cinematheque Ontario has said this about him: “R. Bruce Elder is not only one of Canada’s foremost experimental filmmakers, he’s one of our greatest artists, thinkers, critics, and filmmakers, period.” Harmony & Dissent, his previous book on film and avant-garde art movements, was awarded the Robert Motherwell Book Prize, shortlisted for the Raymond Kilbansky Prize, and named a Choice Outstanding Academic Book for 2010. His next book entitled DADA, Surrealism, and the Cinematic Effect is forthcoming from WLU Press.

R. Bruce Elder's profile page

The scope of this volume is truly astonishing.

M. Wayne Cunningham, <i>Canadian Book Review Annual</i>

Elder is undoubtedly one of the most stimulating thinkers I have ever encountered'' (translated from the Italian)

Antonio Bisaccia, author of <i>Effetto Snow</i> andart reviewer for <i>Manifesto</i>, <i>Il Manifesto</i> and<i>Artleader</i>

... each of the book's principal parts is exemplary of the kind of criticism film studies needs and should have a great deal more of.

Bart Testa, <i>University of Toronto Quarterly</i>