Drawing on film theory, literary modernism, psychology and art history, Fields of View elucidates an expanded network of connections between avant-garde film and wider culture. In this bold and original work, A.L. Rees identifies three key terms - 'field', 'frame' and 'interval' and charts their use by filmmakers and theorists such as Dziga Vertov, Sergei Eisenstein, Bruce Baillie, Maya Deren, Malcolm Le Grice and Werner Nekes, from the 1920s through to the present day. A seminal voice in film culture, Rees left the incomplete manuscript for this book on his death, and Simon Payne has subsequently carefully prepared the book for publication. Fields of View is an important work that establishes a unique perspective on experimental film.

A.L. Rees was Head of the Time-Based Media course at Maidstone College of Art from 1988 - 1995 and then Research Tutor at the Royal College of Art until 2014. At various times he was the chair of the Arts Council's artists' film and video committee, and an adviser on experimental film to the British Film Institute, Tate, the Arts and Humanities Research Council and Channel 4. His book A History of Experimental Film and Video (BFI, 1999/2011) remains a key text, supplemented by the wide range of essays he wrote for journals and books on film and art.

Foreword: Harvesting Fields
Acknowledgements
Fields
Film Machine
Film as Optic and Idea
Expanding Cinema
Room Films
Film Objects
Projection Space
Time Frames
Realisms
Asymptote
Digital Dialectic
Fields in Braque and Gehr
Classic Film Theory and the Spectator
Field and Gestalt
Monet, Lumière and Cinematic Time
Displacement, Sculpture
Bodies in Motion
Intervals
Methods of Montage
Frames
Frames and Windows
Constructivism and Computers
Geometry of Intervals

Notes