The Film-Makers' Cooperative Books

The Film-Makers’ Cooperative has partnered with Eyewash Books to release a series of books about films and filmmakers both within and beyond our collection.

Eyewash is a publisher of books on the theory and history of moving image art. Their books frequently combine contemporary critical views with the film artist’s own words, and are currently available for purchase in a variety of paper and electronic formats.

Forthcoming titles include the second edition of Scott Hammen's A Companion to Jonas Mekas' WALDEN, and, for the first time in print, Jud Yalkut's Electronic Zen: The Alternate Video Generation. Also forthcoming is an anthology of writings about experimental filmmaker, author, activist, and film scholar Marjorie Keller.

The first title from our publishing imprint, The Red Thread: Larry Gottheim and His Films, is now available for purchase in print or ebook form via Barnes and Noble, Amazon,, and our Ecwid online store.

Editorial Board

Scott Hammen

Founder of Eyewash Books, is a filmmaker, writer, and publisher of books on the theory and history of moving image art. He is the editor of Robert Breer A to Z, a self-portrait of Robert Breer drawn from his interviews and writings (Light Cone Editions, 2018), Rose Lowder: Bouquets (Eyewash Books, 2023) and the author of A Companion to Jonas Mekas' Walden, to be published by Eyewash and Film-Makers' Coop Books in 2024.

Tom Day

Executive Director of the New American Cinema Group/The Film-Makers’ Cooperative, has previously held teaching and research positions at The Courtauld Institute of Art, University of London and The University of Edinburgh. His writings on film, video, and media art have appeared or are forthcoming in Oxford Art Journal, Panorama, Art History, Short Film Studies, and numerous edited volumes, including an anthology he has coedited on the relationship between Pop Art and experimental film to be published in 2024 by Edinburgh University Press. He is currently writing a monograph entitled Drop Dead: Art, Urban Crisis and The End of New York.

Robin Blaetz

Emeritus Professor of Film Studies at Mount Holyoke College, Robin Blaetz was instrumental in establishing the study of film in the Five College Consortium in western Massachusetts, where she taught seminars in experimental cinema, as well as courses in film history and theory. In 2007 she co-founded the Experimental Film and Media Scholarly Interest Group for the Society for Cinema and Media Studies. She has written about women filmmakers in particular, with a focus on Marjorie Keller and others working in the 1970s and 1980s, and she edited Women’s Experimental Cinema: Critical Frameworks (Duke University Press, 2007). She has also written about the films of Joseph Cornell, with a concentration on his particular approach to the cinema in relation to his larger body of work. In addition, she has written about women in historical film, with a focus on representations of Joan of Arc in Visions of the Maid: Joan of Arc in American Film and Culture (University of Virginia Press, 2001). In 2017 she led a symposium at Mount Holyoke called “A Curious Man: The Life and Work of Jay Leyda,” which inspired her current work with Leyda and Emily Dickinson.

Erika Balsom

A reader in film studies at King’s College, London, Balsom is the author of four books, including After Uniqueness: A History of Film and Video Art in Circulation (2017, Columbia University Press) and TEN SKIES (Fireflies Press, 2021). Her writing has appeared in venues such as Artforum, Cahiers du cinéma, Cinema Scope, e-flux, Frieze, Grey Room, New Left Review, and Screen. With Hila Peleg, she is the editor of Documentary Across Disciplines (MIT Press, 2016) and Feminist Worldmaking and the Moving Image (MIT Press, 2022). In 2018, she was awarded a Philip Leverhulme Prize and the Katherine Singer Kovacs essay award from the Society for Cinema and Media Studies. In 2021/22, she was the co-curator of the retrospective exhibition Peggy Ahwesh: Vision Machines (Spike Island, Bristol/Kunsthall Stavanger), and in 2022/23, she was the co-curator of No Master Territories: Feminist Worldmaking and the Moving Image (HKW Berlin/Museum of Modern Art, Warsaw).

Steve Anker

Professor Emeritus, Cal Arts, and active as a film and video curator since 1976, has taught in several major college independent filmmaking programs, including Massachusetts College of Arts and Crafts, San Francisco Art Institute, Bard College, and California Institute of the Arts, where he was Dean of the CalArts School of Film/Video from 2002 until 2014. He served as Artistic Director of the San Francisco Cinematheque from 1982 until 2002. With Berenice Reynaud, Anker began the Los Angeles screening series Film at REDCAT and he has curated programs around the world, including the Boston Film/Video Foundation, the Museum of Modern Art in New York, the London International Film Festival, and the Sharjah Art Biennial. He has written for numerous catalogs, periodicals, and others, including Incite, Film Comment, Film Quarterly, Artweek, Millennium Film Journal, and the Soho Weekly News.