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The films of Matthias Müller can be read as an unwritten history of German experimental film, beginning with the Super-8 movement in the 1980s and genre-crossing found footage to the weaving of analogue and digital image media and cinematographic installation.
Table of Contents
|All that Heaven Allows: Breath. Passages. Between Cinema and Art||p. 6|
|Can Films Be Friends?||p. 42|
|On Matthias Muller's Logic of Appropriation||p. 66|
|Distant Proximity: Tracking the Sounds of Matthias Muller's Films||p. 106|
|"We Only Dream of Places": -Matthias Muller's Spaces||p. 140|
|Life in the Present Tense: Matthias Muller and the Peripheries of the Autobiographical Aesthetic||p. 168|
|That Warm Night in the Park||p. 208|
|A Conversation||p. 218|
|"Hey Matthias"||p. 272|
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