{"id":1014,"date":"2017-02-24T12:43:55","date_gmt":"2017-02-24T18:43:55","guid":{"rendered":"http:\/\/www.ambulante.org\/?page_id=1014"},"modified":"2022-01-21T09:55:03","modified_gmt":"2022-01-21T15:55:03","slug":"publicaciones","status":"publish","type":"page","link":"http:\/\/137.184.87.148\/en\/publicaciones\/","title":{"rendered":"Ambulante Publishing"},"content":{"rendered":"

The creation of Ambulante Ediciones<\/strong> responds to an inescapable fact: the printed word is also a powerful tool for promoting social and cultural change. <\/strong>Since the beginning\u00a0Ambulante has been aware of this, and now formalizes it under this label, whose mission is to expand the constellation of subjects, journeys and discussions already created by the festival. The aim is to publish essential woks that expand documentary cinema culture and open new spaces for reflection with our audience. From silent reading to public debate, Ambulante Ediciones also offers a chance to discover, share and transform ideas.<\/p>\n

\u201cI am very glad to see the way Ambulante broadens its horizons and ventures into publishing books,\u201d shares Gael Garc\u00eda Bernal<\/strong>.<\/p><\/blockquote>\n

Film as a subversive art<\/h2>\n

Film as a Subversive Art<\/em>, by curator and film critic Amos Vogel, was originally published in 1974. It is an essential work for the history of cinema, in which the author historically revises the seventh art in light of the concept of subversion. Amos Vogel was an essential benchmark in the history of avant-garde cinema, the art of curatorship, film societies and the alternative circuit of exhibition and display Cinema 16<\/strong> in New York, which he ran from 1947 to 1963, and through which he imbued part of the New York society into transgressive and revealing film experiences.<\/p>\n

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The book analyzes how those who subvert ideology, aesthetics and sexuality use one of the most powerful artistic forms of our time to transform or manipulate our conscious and unconscious minds, to demystify taboos and to modify the existing and institutional values. This subversion of form and content is analyzed within the context of the world of science, philosophy and modern art. The book counts with both critical and historical value and is meaningful in that it is created amidst a unique intertwining of genres, such as film critic, historical reflection and literary essay. In addition to addressing the subject through a central text developed throughout the book, the work presents micro-essays analyzing hundreds of films\u2013including censored, barely shown or never-seen-before titles\u2014thus building, in the heart of a historical essay about film as an art form, a curatorial archive on its most relevant elements. Each chapter is widely illustrated with more than 300 frames of films including a brief but analytical comment.<\/p>\n

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