Explores how contemporary artists use gifts, barter, and other forms of nonmonetary exchange as a means and medium of artistic production. This revised edition of What We Want Is Free examines a twenty-year history of artistic productions that both model and occupy the various forms of exchange within contemporary society. From shops, gifts, and dinner parties to contract labor and petty theft, contemporary artists have used a variety of methods that both connect participants to tangible goods and services and, at the same time, offer critiques of and alternatives to global capitalism and other forms of social interaction. Examples of these various projects include the creation of free commuter bus lines and medicinal plant gardens, the distribution of such services as free housework or computer programming, and the production of community media projects such as free commuter newspapers and democratic low-wattage radio stations. Like the first edition, the second edition includes a detailed survey of artists’ projects from around the globe, as well as critical essays and artists’ texts that explore the underlying social history and contemporary issues that further inform our reading of these works. This new edition also features a new introduction and additional chapters on the relation of exchange practices to democracy, the commons, object-oriented philosophy, and an examination of the impact of ongoing globalization on the economics of artists’ projects. It also features a significantly expanded scope for the project histories, including work from the past decade and a new section dedicated to artist-initiated organizations and innovative models for new institutions. Praise for the First Edition “If you are an artist, read this book. No matter how you define and structure your practice, the essays within What We Want Is Free will lead you to consider important questions about how you work and what kind of life a project can lead.” — Nailed Magazine

Volume contains: (Lincoln Square Center, Inc. v. St. Nicholas Arena, Inc.) (Lincoln Square Center, Inc. v. St. Nicholas Arena, Inc.) (Lincoln Square Center, Inc. v. St. Nicholas Arena, Inc.) (Lincoln Square Center, Inc. v. St. Nicholas Arena, Inc.) (L.O.L. Productions Inc. v. Soundies Distributing Corp. of America, Inc.) (L.O.L. Productions Inc. v. Soundies Distributing Corp. of America, Inc.) (L.O.L. Productions Inc. v. Soundies Distributing Corp. of America, Inc.) (L.O.L. Productions Inc. v. Soundies Distributing Corp. of America, Inc.) (McKesson & Robbins, Inc. v. Caballero) (McKesson & Robbins, Inc. v. Caballero) (McKesson & Robbins, Inc. v. Caballero) (Manhattan Savings Bank v. Tuttle) (Manhattan Savings Bank v. Tuttle) (Manhattan Savings Bank v. Tuttle) (Manhattan Savings Bank v. Tuttle) (Matter of Marx) (Matter of Marx) (Matter of Marx) (Melioris v. Morgenstern) (Melioris v. Morgenstern) (Melioris v. Morgenstern)

Designed for aspiring filmmakers or for a course in short film distribution, this book teaches the fundamentals of promoting and distributing short films and videos. Chapters cover the elements of utilizing social networking to self-promote, entering film festivals, negotiating with broadcast distributors, understanding the various outlets, and distributing alternative work such as Webisodes, demo reels, music videos, and commercials. Readers will follow a five-step distribution plan to maximize the potential of their projects and advance their careers as directors, cinematographers, or editors. The book includes a companion DVD with important contracts, forms, memos, top festivals, and short film buyers. Solutions to exercises and PowerPoint slides are available to instructors.

DIVWhen her son is kidnapped in Mexico, a mother seeks vengeance /divDIVFilm director Carole Marchand’s son has just been kidnapped for the third time. The first two times weren’t as troubling, since Carole had abducted Robert herself—incidents in her hideous divorce. This time, the kidnappers are unknown killers, and Carole wants to know what her ex-husband Warren is going to do about it./divDIV /divDIVRobert was in Mexico with the American ambassador when gunmen swarmed their convoy, taking the ambassador and snatching Robert up with him. As Robert disappears into Central America, Warren and his colleagues at the State Department turn up no leads. Because Robert wasn’t their actual target, his life has little value. When Carole receives word that Robert has been killed, she resolves to take revenge. If the government won’t help her, she will punish her child’s killers herself./div

Samuel Beckett claimed he couldn't talk about his work, but he proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States, Alan Schneider. The 500 letters capture the world of theater as well as the personalities of their authors.

"Created from 'The movie' - the most comprehensive history available of the moving picture and the people involved in this 20th century art form. A marvellous miscellany of movie information about the stars of the silver screen"--Jacket

Anyone can make a short film, right? Just grab some friends and your handheld and you can do it in a weekend or two before being accepted to a slew of film festivals, right? Wrong. Roberta Munroe screened short film submissions at Sundance for five years, and is an award-winning short filmmaker in her own right. So she knows a thing or two about how not to make a short film. From the first draft of your script to casting, production, editing, and distribution, this is your one-stop primer for breaking into the business. Featuring interviews with many of today's most talented writers, producers, and directors, as well as revealing stories (e.g., what to do when the skinhead crack addict next door begins screaming obscenities as soon as you call "action") from the sets of her own short films, Roberta walks you through the minefield of mistakes that an aspiring filmmaker can make--so that you don't have to make them yourself.