The University of Reading has recently acquired the Stephen Dwoskin archive, comprising the books, ephemera, photographs and papers, collated from his home in Brixton, that contributed to the making of his oeuvre. This dossier is essentially a first statement in a larger reassessment of Dwoskin that the archive will afford. The writers here derive from a younger generation of scholars and curators who aim to make sense of the late twentieth century as history, as distinct from the previous generation, including Dwoskin, who wrote to secure their ideological interests for the discipline and their own impact within it. These younger writers focus on the productive difficulties that Dwoskin’s work poses to film theory and criticism, repositioning Dwoskin as both a formal and political innovator, as a counter to the ‘Two avant gardes’, and as a maker of communities through collaboration. In short, Dwoskin is positioned here as a figure who effectively defies categorization.
Screen Volume 57, Number 1
THE STEPHEN DWOSKIN DOSSIER
The Stephen Dwoskin Dossier: Introduction
by Rachel Garfield
Dwoskin, centripetal and centrifugal
by Adrian Martin
by Lucy Reynolds
The lonely crowd: Dwoskin, Durgnat and the London Film-Makers’ Co-op
by Henry K. Miller
To independent filmmakers: Stephen Dwoskin and ‘the international free cinema’
by Dan Kidner
Caetlin Benson-Allott, Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing.
Reviewed by Allison Whitney
Duncan Petrie and Rod Stoneman, Educating Film-makers Past, Present and Future.
Reviewed by Christine Geraghty
Cynthia Tomkins, Experimental Latin American Cinema: History and Aesthetics.
Reviewed by Sarah Barrow
James Tweedie, The Age of New Waves: Art Cinema and the Staging of Globalization.
Reviewed by Jun Okada
View the full Table of Contents at http://bit.ly/1SNJ0Fu