Experimental Film and Video
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Documents current artistic and theoretical debates and traces the history of experimental moving-image practices

The past 40 years of technological innovation have significantly altered the materials of production and revolutionized the possibilities for experiment and exhibition. Not since the invention of film has there been such a critical period of major change in the imaging technologies accessible to artists. Bringing together key artists in film, video, and digital media, the anthology of Experimental Film and Video revisits the divergent philosophical and critical discourses of the 1970s and repositions these debates relative to contemporary practice. Forty artists have contributed images, and 25 artists reflect on the diverse critical agendas, contexts, and communities that have affected their practice across the period from the late 1960s to date. Along with an introduction by Jackie Hatfield and forewords by Sean Cubitt and Al Rees, this illustrated anthology includes interviews and recent essays by filmmakers, video artists, and pioneers of interactive cinema. Experimental Film and Video opens up the conceptual avenues for future practice and related critical writing.



Publié par
Date de parution 09 août 2006
Nombre de lectures 5
EAN13 9780861969067
Langue English
Poids de l'ouvrage 1 Mo

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Experimental Film and Video
Nothing that has ever happened should be regarded as lost for history . . . To articulate the past historically . . . means to seize hold of a memory as it flashes up at a moment of danger. Only that historian will have the gift of fanning the spark of hope in the past who is firmly convinced that even the dead will not be safe from the enemy if he wins. Walter Benjamin Theses on the Philosophy of History , page 247 Illuminations , (London: Pimlico, 1999)
Experimental Film and Video
An Anthology
Edited by Jackie Hatfield
Picture Editor: Stephen Littman
British Library Cataloguing in Publication Data
Experimental Film and Video: An Anthology
A catalogue entry for this book is available from the British Library
ISBN: 9780 86196 664 6 (Paperback edition)
Ebook edition ISBN: 9780-86196-906-7
Ebook edition published by
John Libbey Publishing Ltd, 3 Leicester Road, New Barnet, Herts EN5 5EW, United Kingdom
e-mail: john.libbey@orange.fr ; web site: www.johnlibbey.com
Printed and electronic book orders (Worldwide): Indiana University Press , Herman B Wells Library - 350, 1320E. 10th St., Bloomington, IN 47405, USA www.iupress.indiana.edu
2015 Copyright John Libbey Publishing Ltd. All rights reserved.
Unauthorised duplication contravenes applicable laws.

Foreword by Sean Cubitt

Foreword by A.L. Rees

Introduction Jackie Hatfield

SECTION I Philosophies and Critical Histories of Avant-Garde Film and Current Practice
Chapter 1
Post Future Past Perfect Grahame Weinbren
Chapter 2
Matter s Time Time For Material Peter Gidal
Chapter 3
Films and Installations - A Systems View of Nature Chris Welsby
Chapter 4
A Line Through My Work Nicky Hamlyn
Chapter 5
A Few Notes on Filmmaking Jayne Parker
Chapter 6
Film Noise Aesthetics Rob Gawthrop
Chapter 7
Line Describing a Cone and Related Films Anthony McCall

SECTION II Languages of Representation in Film and Video: Thresholds of Materiality
Chapter 8
Trilogical Distractions Lis Rhodes
Chapter 9
The autoethnographic in Chantal Akerman s News from Home , and an Analysis of Almost Out and Stages of Mourning Sarah Pucill
Chapter 10
Film, The Body, The Fold An Interview with Nina Danino on Now I Am Yours Nina Danino and Susanna Poole
Chapter 11
Attitudes 1-8 Katherine Meynell
Chapter 12
Video Works 1973-1983 David Critchley
Chapter 13
Early Video Tapes 1978-1987 Chris Meigh-Andrews
Chapter 14
Andrew K tting. What he does, how he does it and the context in which it has been done: An Alphabetarium of K tting Gareth Evans and Andrew K tting
Chapter 15
Ardent for Some Desperate Glory: Revisiting Smothering Dreams Daniel Reeves
Chapter 16
War Stories, or Why I Make Videos About Old Soldiers Cate Elwes
Chapter 17
Moving Parts: The Divergence of Practice Vicky Smith

SECTION III Philosophies and Critical Histories of Video Art to Cinema
Chapter 18
Mutation on a Form Karen Mirza and Brad Butler
Chapter 19
Video: Incorporeal, Incorporated Stephen Partridge
Chapter 20
Tamara Krikorian - Defending the Frontier Cate Elwes
Chapter 21
Another Place - David Hall Jackie Hatfield
Chapter 22
Alchemy and the Digital Imaginary David Larcher, interviewed by Stephen Littman
Chapter 23
Reflections on My Practice and Media Specificity Malcolm Le Grice
Chapter 24
Expanded Cinema - Proto, Post-Photo Jackie Hatfield
Chapter 25
Image Con Text (1978-2003): Film/Performance/Video/Digital Mike Leggett



Work by George Barber, Jackie Hatfield, Stephen Hawley, Tina Keane, Tamara Krikorian, Stephen Littman, Jo Ann Millet, William Raban, Kayla Parker, Guy Sherwin, Tony Sinden, John Smith, Jeremy Welsh

Foreword by Sean Cubitt
There have been honourable exceptions like Mike O Pray and Stephen Heath, but few of the leading film critics and theorists of the last forty years have spent much time with artists video and film. Though film-maker Laura Mulvey s essay on visual pleasure remains one of the most cited in the humanities, her films are more and more rarely screened in graduate classes. The demands of genre study, narratology and industrial analysis of national cinemas have led media scholars away from their interests in the avant-garde; while the avant-garde, especially in the United Kingdom, have been driven further away from media-based funding towards the gallery world or the digital underground.
Political radicalism is not the cause of this: radicals like Ken Loach can still make feature films. But it may be a result of marginalisation by the film business and increasingly by funding agencies whose brief must stretch from popular entertainment to documentary intervention and grassroots training. Everybody has a reason to step aside.
Yet there is a powerful tradition of artists writings on vanguard media practice in the UK. The writings of Peter Gidal and Stuart Marshall informed many young artists projects throughout the 1970s and 1980s, sometimes as inspiration, sometimes in reaction, a constant articulation with emerging practices in film and video arts. The fabled inarticulateness of the creator was never much prized among film and video makers: talk was always integral to the art where making relied so heavily on other people s help. I remember a New York based avant-garde filmmaker amazed that his London crew on a jobbing music video were all reading Kafka and going off to Fassbinder screenings. The art school tradition of demanding a written dissertation as part of the degree still impacts on the distinctive willingness of the UK artist to engage in ideas, and to generate them.
For lack of a continuous tradition of critical writing - despite the efforts of Undercut over the years - this collection is likely to prove a treasure trove for new readers. Piled up in one-off little magazines and catalogues, mimeographed sheets and letraset layouts are the fragments of a thriving culture swept under the carpet of history by a sad confusion of missed opportunities, crossed wires, confused responsibilities and overcrowded archives. Given the technological savvy of its practitioners, film and video art in the UK has been for the most part an oral culture, and every time one of its old guard dies, like the African adage about fathers, it is like a library has burnt down.
These were not theories in the sense of coherent discourses grounded in axioms and built brick by brick as theorems and theses. They were assertions, political manifestos, memos from cutting rooms and gallery floors. They spoke from the delirium of greeting a new machine - the Film Coop s legendary optical printer, LVA s first non-linear suite. Some come from the lost ages of 16mm film and monochrome television. Whole aesthetics have evaporated since video migrated from open reels to cassettes, as they did when television and shortly thereafter video migrated to colour. The possibilities for invention were no less then, though the palette was perhaps more limited - just as D rer s prints are scarcely poor compared to his oils.
Despite everything, the discourse is still in hock to the gods of time: progress and fashion still rule the ways younger artists approach older art. The voices seem faded and stilted perhaps, the concerns remote and old hat. Most of all, of course, there is scarcely anything available to them or their teachers of the roar and shove of the Coop and LVA, or the irrational passions that drove regional initiatives in the South West, the East Midlands, Hull and Liverpool. Startling loyalties and antagonisms between film and video folk, strange destinies each pursued often separate from the other. Odd allies that emerged from the British Council and Canada House when the national collections found it impossible to buy or archive the culture of artists working in the moving image.
This Anthology, Experimental Film and Video , is one of a number of moves to reinstate a lost history. It does so not only to secure a pension for unjustly neglected artists, not only to fill a blank in the annals of the culture; nor even to bring an era of extraordinary achievement in the arts back into public view. Most of all, the Anthology exists in a broader action to bring to the emergent artists of the 21st century some flavour of the pioneers of the 20th. Great as they were, Picasso, Duchamp and Pollock are poor masters for artists whose media move in time, make noises, connect to networks. In some ways the only genuinely native avant-garde movement of the 20th century in the UK, the film and media avant-gardes of the 1960s, 70s and 80s set the groundwork for the emergent digital arts. These stories are alive and infectious.
Sean Cubitt
March 2005
Foreword by A.L. Rees
This collection of new critical writing by film, video and electronic media artists is exceptionally timely. Digital technologies have revolutionised the artists cinema, to push towards the polyexpressiveness proclaimed by the Futurists ninety years ago in their Film Manifesto of 1916 ( synthetic, dynamic, free-wording . . . immensely vaster and lighter than all the existing arts ). At the same time, the incorporation of classic avant-garde techniques into standard digital software, but stripped of context and offered as a tool-kit of effects, challenges artists to re-appropriate the medium and its language for time-based and screen-based experiment.
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