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Line 18: ===The postwar American avant-garde=== The U.S. had some avant-garde filmmakers before [[World War II]], ~~but~~such as ''[[Manhatta]]'' (1921) by [[Charles Sheeler]] and [[Paul Strand]], and ''[[Life and Death of 9413: a Hollywood Extra]]'' (1928) by [[Slavko Vorkapich]] and [[Robert Florey]]. However, much pre-war experimental film culture consisted of artists working, often, in isolation, on film projects. Painter [[Emlen Etting]] (1903-1993) directed dance films in the early 1930s that are considered experimental, and artist Douglass Crockwell (1904–1968)<ref>http://www.fulltable.com/VTS/c/crockwell/menu.htm</ref> made animations with blobs of paint pressed between sheets of glass at Fall River, New York.<ref>http://publishing.cdlib.org/ucpressebooks/view?docId=kt2f59q2dp&chunk.id=ch01&toc.depth=1&toc.id=ch01&brand=ucpress See Lewis Jacob’s texts in “Hollywood Quarterly“ in 1948 - A Study on Crockwell 's films is in Part II</ref>▼ In [[Rochester, New York]], [[James Sibley Watson]] and Melville Webber directed ''[[The Fall of the House of Usher (1928 American film)\|The Fall of the House of Usher]]'' (1928) and ''[[Lot in Sodom]]'' (1933). [[Harry Everett Smith\|Harry Smith]], [[Mary Ellen Bute]], artist [[Joseph Cornell]]~~, and painter [[Emlen Etting]] (1905–1993) made early masterpieces in the 1930s~~, and Christopher Young made several European-influenced experimental films. In 1930 appears the magazine ''Experimental Cinema'' (for the first time, the two words are directly connected without any space between them <ref>http://www.amazon.com/Experimental-1930-1934-Periodical-through-Reprints/dp/B001MPSLX0</ref>). The editors are [[Lewis Jacobs]] and [http://xroads.virginia.edu/~ma01/huffman/frontier/others.html David Platt]. A very large panel of films of that time are been edited, in 2005, on DVD : [[Unseen Cinema: Early American Avant Garde Film 1894-1941]].<ref>http://archive.sensesofcinema.com/contents/festivals/02/21/posner.html Interview with Bruce Posner, the curator</ref> ▼ ▲The U.S. had some avant-garde filmmakers before World War II, but much pre-war experimental film culture consisted of artists working, often, in isolation. Douglass Crockwell (1904–1968)<ref>http://www.fulltable.com/VTS/c/crockwell/menu.htm</ref> made animations with blobs of paint pressed between sheets of glass at Fall River, New York.<ref>http://publishing.cdlib.org/ucpressebooks/view?docId=kt2f59q2dp&chunk.id=ch01&toc.depth=1&toc.id=ch01&brand=ucpress See Lewis Jacob’s texts in “Hollywood Quarterly“ in 1948 - A Study on Crockwell 's films is in Part II</ref> ▲In [[Rochester, New York]], [[James Sibley Watson]] and Melville Webber directed ''[[The Fall of the House of Usher (1928 American film)\|The Fall of the House of Usher]]'' (1928) and ''[[Lot in Sodom]]'' (1933). [[Harry Everett Smith\|Harry Smith]], [[Mary Ellen Bute]], artist [[Joseph Cornell]], and painter [[Emlen Etting]] (1905–1993) made early masterpieces in the 1930s, and Christopher Young made several European-influenced experimental films. In 1930 appears the magazine ''Experimental Cinema'' (for the first time, the two words are directly connected without any space between them <ref>http://www.amazon.com/Experimental-1930-1934-Periodical-through-Reprints/dp/B001MPSLX0</ref>). The editors are [[Lewis Jacobs]] and [http://xroads.virginia.edu/~ma01/huffman/frontier/others.html David Platt]. A very large panel of films of that time are been edited, in 2005, on DVD : [[Unseen Cinema: Early American Avant Garde Film 1894-1941]].<ref>http://archive.sensesofcinema.com/contents/festivals/02/21/posner.html Interview with Bruce Posner, the curator</ref> ''[[Meshes of the Afternoon]]'' (1943) by [[Maya Deren]] and [[Alexandr Hackenschmied\|Alexander Hammid]] is considered to be one of the first important American experimental films. It provided a model for self-financed [[16 mm film\|16 mm]] production and distribution, one that was soon picked up by [[Cinema 16]] and other [[film society\|film societies]]. Just as importantly, it established an aesthetic model of what experimental cinema could do. ''Meshes'' had a dream-like feel that hearkened to Jean Cocteau and the Surrealists, but equally seemed personal, new and American. Early works by [[Kenneth Anger]], [[Stan Brakhage]], [[Shirley Clarke]], [[Gregory Markopoulos]], [[Jonas Mekas]], [[Willard Maas]], [[Marie Menken]], [[Curtis Harrington]] and [[Sidney Peterson]] followed in a similar vein. Significantly, many of these filmmakers were the first students from the pioneering university film programs established in [[Los Angeles]] and [[New York City\|New York]]. In 1946, [[Frank Stauffacher]] started the "Art in Cinema" series of experimental films at the [[San Francisco Museum of Modern Art]].