Alongside the commercial cinema of narrative and spectacle there has always been another practice - call it avant-garde, experimental or artists' film (as opposed to art cinema). It is this work that Nicky Hamlyn, himself an acclaimed film-maker in the alternative tradition, investigates in Film Art Phenomena. The work takes its cue from modern trends in other artforms, notably painting and sculpture. This is film-making that emphasises the nature of its apparatus and medium in order to bring about a critical, inquisitive state of mind in the viewer. It deconstructs, anatomises and reimagines what film images are; it builds new machines; it recreates the setting of cinema or expands into new kinds of performance and exhibition. It often has a political dimension - urging audiences to make a free and active response not a passive, consumerist one. Hamlyn's major new study treats artists' film conceptually in order to explore key categories that connect different works and film-makers: from framing to digital media, installation to interactivity, point of view to sound. In so doing he considers the work of Stan Brakhage, Malcolm Le Grice and Michael Snow, as well as younger artists such as Karen Mirza and Brad Butler, Jennifer Nightingale, and Colin Crockatt, among many others. Film Art Phenomena is a crucial intervention in debates about the modes of film-making that diverge from and oppose the mainstream.
Autorentext
Nicky Hamlyn studied Fine Art at the University of Reading. From 1979 to 1981 He was a workshop organiser at the London Filmmakers' Co-op, where he was also a founder of and regular contributor to the Co-op's magazine Undercut. He is currently a lecturer in Time Based media and Visual Theory at Kent Institute of Art and Design. His films have been screened at festivals and venues around the world.
Inhalt
Acknowledgments
Introduction
I. MEDIA
1. Film and Video
2. Digital Media
3. Expanded Technologies
4. Installation and its Audience
II. THE APPARATUS
5. The Frame and its Dissolution
6. Framing
7. Holding the Camera
8. Point of View
III. AESTHETICS
9. Space
10. Location
11. Interactivity
12. Sound, Sync, Performance
13. Film, Art, Ideology
Bibliography
Works Cited
Index