The year was 1963 and from Birmingham to Washington, D.C., from Vietnam to the Kremlin to the Berlin Wall, the world was in the throes of political upheaval and historic change. But that same year, in New York's Greenwich Village, another kind of history and a different sort of politics were being made. This was a political history that had nothing to do with states or governme...(展开全部)

The year was 1963 and from Birmingham to Washington, D.C., from Vietnam to the Kremlin to the Berlin Wall, the world was in the throes of political upheaval and historic change. But that same year, in New York's Greenwich Village, another kind of history and a different sort of politics were being made. This was a political history that had nothing to do with states or governme...(展开全部)

The year was 1963 and from Birmingham to Washington, D.C., from Vietnam to the Kremlin to the Berlin Wall, the world was in the throes of political upheaval and historic change. But that same year, in New York's Greenwich Village, another kind of history and a different sort of politics were being made. This was a political history that had nothing to do with states or governme...(展开全部)

The year was 1963 and from Birmingham to Washington, D.C., from Vietnam to the Kremlin to the Berlin Wall, the world was in the throes of political upheaval and historic change. But that same year, in New York's Greenwich Village, another kind of history and a different sort of politics were being made. This was a political history that had nothing to do with states or governme...(展开全部)

彼得·比格尔（Peter Burger），1936年生，1971年起任德国不来梅大学法国文学与比较文学教授。著有《先锋派理论》、《现代主义的衰弱》、《唯心主义美学批判》、《中介一接受一功能》（论文集）和《艺术体制：现代德国文化与文学》（与克丽斯塔·比格尔合著）等。

彼得·比格尔（Peter Burger），1936年生，1971年起任德国不来梅大学法国文学与比较文学教授。著有《先锋派理论》、《现代主义的衰弱》、《唯心主义美学批判》、《中介一接受一功能》（论文集）和《艺术体制：现代德国文化与文学》（与克丽斯塔·比格尔合著）等。

Elaborates a dialectics of modernity, eternity and tradition.

The book shows the connections between Japanese historical avant-garde movements and new Japanese experimental films. The author provides insight into the development of Japanese avant-garde visual culture and experimental aesthetics, also featuring the expanded cinema after 2000. The author focuses on the detailed presentation of the chosen aspects, artists and films of the Ja...(展开全部)