Lines and Interruptions in Experimental Film and Video

2018 ◽  
pp. 19-36
Author(s):  
Simon Payne
Keyword(s):  
Experimental Film ◽  
Film And Video

From Expanded to Intimate Cinemas in Canadian Experimental Film/Video

2019 ◽  
pp. 332-348
Author(s):  
Monika Kin Gagnon
Keyword(s):  
Mobile Devices ◽  
Contemporary Art ◽  
Experimental Film ◽  
Web Based ◽  
Media Arts ◽  
Experimental Media ◽  
Expanded Cinema ◽  
The Creation ◽  
The 1960S ◽  
Film And Video

This chapter establishes two markers for fifty years of experimental media arts in Canada: Joyce Wieland’s 1967 Bill’s Hat, an expanded cinema event, and Midi Onodera’s To Poll or Not to Poll (2016), the latest in her ongoing series of year-long, Web-based films created for mobile devices, which she has called intimate cinema. This chapter complicates boundaries between histories of contemporary art, film, and video in Canada, and selectively animates the lively people, contexts, events, genres, and networks that have sustained the cultural ecosystems of experimental media arts in Canada. With specific examples drawn from thousands of mediaworks, events, festivals, and symposia, this chapter demonstrates that these ecosystems have been largely self-propelled by artists and mediamakers acting as creative, technical, administrative, pedagogical, and critical advocates since at least the 1960s to ensure the creation of dynamic artworks in dialogue with multiple communities both local and international.

Review: A History of Experimental Film and Video

2000 ◽  
Vol 95 (1) ◽  
pp. 277-278
Author(s):  
John Cumming
Keyword(s):  
Experimental Film ◽  
History Of ◽  
Film And Video

scholarly journals El trabajo de cine y video de Rafael Hastings

2020 ◽  
pp. 49-57
Author(s):  
José-Carlos Mariátegui Ezeta
Keyword(s):  
Latin America ◽  
Visual Arts ◽  
Video Art ◽  
Experimental Film ◽  
Audiovisual Material ◽  
Moving Image ◽  
Film And Video

Este artículo intenta presentar la obra en cine y video del artista peruano Rafael Hastings (1945-2020), quien fue uno de los pioneros en experimentar con la imagen en movimiento dentro de las artes visuales en el Perú y Latinoamérica. Su obra videográfica y cinematográfica –desarrollada principalmente desde la mitad de los años 60 hasta principios de los años 80– ha sido poco estudiada, debido a algunas limitaciones en su acceso. A partir del escaso material audiovisual que existe, como documentos y testimonios, se puede descubrir los rastros de una rica y plurifacética producción, que evade las nomenclaturas artísticas establecidas y reta el trabajo historiográfico convencional.Palabras clave: video arte, archivos, Perú, arte, film experimental, Europa AbstractThis article attempts to present the work in film and video of the Peruvian artist Rafael Hastings (1945-2020). Hastings was one of the pioneers in experimenting with the moving image within the visual arts in Peru and Latin America. His video and film work - developed mainly from the mid-1960s to the early 1980s - has been little studied due to some limitations in access. From the scarce audiovisual material that exists, documents, and testimonies, it is possible to discover the traces of a rich and multifaceted production that evades established artistic nomenclatures and challenges conventional historiographic work.Keywords: video art, archives, Peru, art, experimental film, Europe

Feminism and experimental film and video

2018 ◽  
pp. 222-264
Author(s):  
Kristin Lené Hole ◽  
Dijana Jelača
Keyword(s):  
Experimental Film ◽  
Film And Video

Transmission, from the Movie-Drome to Vdrome

2017 ◽  
pp. 219-236
Author(s):  
Erika Balsom
Keyword(s):  
Video Art ◽  
The Internet ◽  
Experimental Film ◽  
Moving Image ◽  
Late Night ◽  
Film And Video ◽  
Limited Period

Chapter 8 revisits the utopian moment of exhibiting experimental film and video art on television in light of contemporary efforts to develop authorized platforms for the distribution of artists’ moving image on the Internet. This chapter turns to the life and legacy of the late-night programs Screening Room (1971–81) and Midnight Underground (1993–97), comparing and contrasting the broadcasting model with the recent narrowcasting initiative Vdrome, www.vdrome.org, which shows a single artists’ video for a limited period of time, usually ten days.

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