Cinema as Performance
Chapter 3 is the first of four chapters that make up Part II of Cinema Expanded. This part of the book considers different general modes that expanded cinema has taken, each mode representing aesthetic territory and ideas usually associated with a different art form (e.g. performance or sculpture). Chapter 3 considers a variant of expanded cinema that integrates live performance into projection of moving images, usually called “projection performance” or “projector performance.” In this type of expanded work, the tactility of both filmstrip and projector are on display, as is the performer (typically the filmmaker—the representative of avant-garde cinema’s more intimate relationship between artist and audience). But alongside these markers of cinema’s physicality and presence is the ephemerality of live performance. Non-repeatable, site-specific, aleatory instead of mechanistically automatic, projection performance is centered upon the moment when the material of film is transformed into the far less tactile play of light, shadow, and illusion, and when objects give way to processes and experiences. The integration of performance into cinema was initially understood as a blurring of art forms. But the intermedia film-theater hybrids of the first wave of expanded cinema gave way to subsequent projection performances that claimed a performative dimension for cinema itself, rather than thinking of it as an alien form grafted onto film in a new intermedia format.