Expanded cinema : Art, performance, film

Expanded cinema : Art, performance, film

Expanded Cinema and Narrative : A troubled history

A.L. Rees

by A.L.Rees (editor) (Author), David Curtis (editor) (Author), Duncan White (editor) (Author),

  • Paperback: 320 pages
  • Publisher: Tate Publishing; 01 edition (11 May 2011)
  • Language: English
  • ISBN-10: 1854379747
  • ISBN-13: 978-1854379740

the projectors or monitors, the process and materials, were primary signifiers in their own right, as well as channels for images. (14)

Structural  filmmakers turn to ‘multi-screen work as a projection expanded event.’Expanded cinema is not just a qusetion of using many screens, or of taking the ilght beam into gallery space. The key difference is whether or not a work is predetermined, is already made, as the record of an event that has previously taken place, and so can be recognized independently of its projected instantiation; or conversely, whether it is made in and through its projection. (14)  이거 아주 중요하다고 봄.

But, there were also more substantial artistic differences between film and video. Video could aim for direct TV transmission and various attempts were made to construct TV interventions. (16)

The antagonism between film and video art communities lasted until it was made redundant by the spread of digital media into all kinds of practices. (16)

Expanded cinema by definition has always burst beyond the confines of the single screen and the black box. (인용해라. 내가 보기에는 아니다. performance 제외하면 거의 black box였다.) 19 expanded cinema라는 term안 쓰는 이유는 그게 live focus : live events and happenings 였으므로. : 

artists continued to explore new performative models of making and viewing films (101p)


Socialimagestics and the visual acupuncture of Stan Vanderbeek’s Expadned Cienema

Mark Bartlett

이 부분에서는 intermedia 활용할 수 있을 듯? Movie-drome 자세하게 언급되어 있다in gall.


Reflexivity and Expanded Cinema:  A Cinema of Transgression?

William Raban

Although the history of artists’ film and expanded cinema goes back to the origins of cinema, films from the early period were mostly screened in film theatres rather than galleries-although to begin with, cinema spaces were far more makeshift. The screening of artists’ film in galleries seems to have come into its own only since the 1960s.  (105) Ch03에 추가해라. 장소성에 대한 것 black box. 

Expanded cinema는 결국 live. 성격이 강해서 cinema와 구분된다. present tense를 강조하는 것이다. 그래서 관객이 수동적인 게 아니라, 능동적이라고 보는 게 맞다. spatial deployment of screens는 이걸 능동적으로 만들지 않는다. spatiality는 솔직히 아주 약하다. 

The digital revolution means that the subtle distinctions that used to exist between film and video have disappeared. (107)

Expanded cinema has a special place within film history for the way in which it dissolves clear distinctions between time of production and time of exhibition. The audience experiences the work reflexively- as active spectators- in the present tense so that the old hierarchies between artist as producer and audience as consumer are broken. Ultimately, it is these two interlinked and defining characteristics, active spectatorship and the dissolution of a hierarchical separation between artist and audience, that constitute the subversive qualities of expanded cinema. (107) 이건 아주 끝 부분에. 







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