Systems Cinema: Three Experimental Cinema Works.
These experimental video works relate to a history of artist’s cinema that stretches back to the abstract cinema of the 1920s and the first films to involve a systematic, graphic approach to the cinema. They are: NOT AND OR (HD, 2014, 18mins, colour, silent); Reason’s Code (HD, 2016, 7mins, b/w, stereo); Set Theory I-IV (HD, 2018, 18mins, b/w and colour, stereo).
- Submitting institution
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Anglia Ruskin University Higher Education Corporation
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 905
- Type
- Q - Digital or visual media
- Publisher
- LUX (London); Lightcone (Paris).
- Month
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- Year
- 2019
- URL
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https://figshare.com/s/b286b5e9381afff89739
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The three experimental video works compiled for this multi-component output relate to a history of artist’s cinema that stretches back to the abstract cinema of the 1920s and the first films to involve a systematic, graphic approach to the cinema. They also evoke a critical strain in cinema associated with ‘structural-materialist’ filmmaking in the 1970s, which investigated a reflexive model of spectatorship. In contrast to these forebears, these three video works involve an investigation of certain fundamental aesthetics of digital cinema. They are distinctly related in terms of their systematic approach, but they were also instigated with specific questions in mind. NOT AND OR asks how one sees and reads the surface of the screen when it represents computer-generated graphic fields that have been refilmed. Reason’s Code considers the role of codification in early experimental cinema and its relation to the form-language of digital cinema. Set Theory I-IV examines how one perceives form, colour and depth in the systematic combination of digital planes.
These video works correspond with various essays of mine, written between 2016–18, including: ‘Negative Light: Contemporary British Experimental Film and Video’ in Senses of Cinema (Issue 78, 2016); my contributions to Kurt Kren: Structural Films (edited by N. Hamlyn, S. Payne and A.L. Rees, Intellect, 2016); and ‘Lines and Interruptions in Experimental
Film and Video’ in Experimental and Expanded Animation (edited by N. Hamlyn and V. Smith, Palgrave Macmillan, 2018).
The three videos have been exhibited in a range of international venues including: Microscope Gallery, New York; Close Up
Cinema, London; European Media Arts Festival, Osnabruck; Ann Arbor Film Festival; Rotterdam International Film Festival;
Edinburgh International Film Festival; Lightcone/Scratch Projections, Paris; Fracto Experimental Film Festival, Berlin; Currents, New Media Festival, Santa Fe. They are distributed internationally by LUX (https://lux.org.uk/work/set-theory-i-iv); and Lightcone (https://lightcone.org/en/film-11801-set-theory-i-iv).
- Author contribution statement
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- Non-English
- No
- English abstract
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