REVIEW - Face Patterns. Dir. Hadi Afarideh. 34 mns. Persian with English subs. Documentary & Experimental Film Centre (DEFC), 2012.

2016 ◽  
Vol 3 (2) ◽  
Author(s):  
Dido Tetley
Keyword(s):  
Experimental Film

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

A view point for understanding Korean Experimental Film

2017 ◽  
Vol 2 (3) ◽  
pp. 145-156
Author(s):  
Jong Han Choi ◽  
Keyword(s):  
Experimental Film ◽  
View Point

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

scholarly journals Cinematic “Pas de Deux”: The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in A Study in Choreography for Camera (1945)

2013 ◽  
Vol 47 (2) ◽  
pp. 385-403
Author(s):  
HANNAH DURKIN
Keyword(s):  
Film History ◽  
Cross Cultural ◽  
Experimental Film ◽  
Ballet Dancer ◽  
Emotional Experiences ◽  
Avant Garde ◽  
The Us ◽  
Artistic Vision ◽  
The Individual ◽  
Ballet Dancing

A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritual (which she borrowed from Katherine Dunham's Haitian experiences after spending many years documenting vodou) while allowing a leading black male dancer to display his artistry on-screen. I show that cultures and artistic forms widely dismissed as incompatible are rendered equivocal. Study adopts a stylized and rhythmic technique borrowed from dance in its attempt to establish cinema as “art,” and I foreground Beatty's contribution to the film, arguing that his technically complex movements situate him as joint author of its artistic vision. The essay also explores tensions between the artistic intentions of Deren, who sought to deprivilege the individual performer in favour of the filmic “ritual,” and Beatty, who sought to display his individual skills as a technically accomplished dancer.

An audio-visual Gallivant: Psychogeographical soundscapes in the films of Andrew Ktting

2010 ◽  
Vol 3 (2) ◽  
pp. 125-130 ◽  
Author(s):  
Aimee Mollaghan
Keyword(s):  
Fine Art ◽  
Experimental Film ◽  
Environmental Sound ◽  
Powerful Effect ◽  
Narrative Cinema ◽  
Human Psyche ◽  
Independent Existence

Andrew Ktting is one of the most innovative film-makers working in Britain today, using his distinctive Punk multimedia aesthetic to circumvent not only the conventions of narrative cinema, but also the conventions of experimental film and fine art. One of Ktting's enduring concerns is the psychogeographical use of landscape and soundscape as a catalyst for arresting and inventive investigations into memory and identity. Composer R. Murray Schafer uses the word soundscape to identify sound that describes an environment, actual or abstract, but always a sound relevant to a place (Schafer 1994). The sounds of our environment have a powerful effect on our imaginations and memories and Ktting exploits this effect across his body of work. The use of the disembodied voice is another marked feature of Ktting's films, creating both implied narratives and the evocation of memory. Ktting's bodiless voices have a schizophonic quality to them. Kotting rips sounds and voices from their sources and imbues them with an independent existence that is at liberty to emanate from anywhere in the landscape. This article investigates Ktting's idiosyncratic creation of soundscapes as a filmic reproduction of the human psyche, exploring memory, identity and community through an interweaving of voice, music and environmental sound.

Responsibility before the World: Cinema, Perspectivism and a Nonhuman Ethics of Individuation

2021 ◽  
Vol 15 (3) ◽  
pp. 386-410
Author(s):  
Andrew Lapworth
Keyword(s):  
Social Sciences ◽  
Human Subject ◽  
Ethical Responsibility ◽  
Experimental Film ◽  
World Cinema ◽  
The World ◽  
The Subject ◽  
Points Of View ◽  
Humanities And Social Sciences

The recent ‘nonhuman turn’ in the theoretical humanities and social sciences has highlighted the need to develop more ontological modes of theorising the ethical ‘responsibility’ of the human in its relational encounters with nonhuman bodies and materialities. However, there is a lingering sense in this literature that such an ethics remains centred on a transcendent subject that would pre-exist the encounters on which it is called to respond. In this essay, I explore how Gilles Deleuze's philosophy offers potential opening for a more ontogenetic thinking of a ‘nonhuman ethics’. Specifically, I focus on how his theory of ‘individuation’ – conceived as a creative event of emergence in response to immanent ontological problems – informs his rethinking of ethics beyond the subject, opening thought to nonhuman forces and relations. I argue that if cinema becomes a focus of Deleuze's ethical discussions in his later work it is because the images and signs it produces are expressive of these nonhuman forces and processes of individuation, generating modes of perception and duration without ontological mooring in the human subject. Through a discussion of Verena Paravel and Lucien Castaing-Taylor's experimental film –  Leviathan (2012)  – I explore how the cinematic encounter dramatises different ethical worlds in which a multiplicity of nonhuman ‘points of view’ coexist without being reduced to a hierarchical or orienting centre that would unify and identify them. To conclude, I suggest that it is through the lens of an ethics of individuation that we can grasp the different sense of ‘responsibility’ alive in Deleuze's philosophy, one oriented not to the terms of the already-existing but rather to the nonhuman potential of what might yet come into being.

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