Fields of View: Film, Art and Spectatorship
- 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
- 872
- Type
- B - Edited book
- DOI
-
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- Publisher
- Th British Film Institute / Bloomsbury Publishing
- ISBN
- 9781838719944
- Open access status
- -
- Month of publication
- October
- Year of publication
- 2020
- URL
-
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- Based on a manuscript that A.L. Rees left unfinished on his death in 2014, this book presents critical insights, which were dependent on the completion of a lengthy period of data collection and investigation of materials left by a seminal figure in film culture. Payne's substantial editorial and interpretative effort involved robust analysis and organisation of this archive, drawing also on in-depth knowledge of the author's material, which is evident in the foreword. The book brings together perspectives that would have been lost without Payne's completion of it, and thus represents a significant contribution to the literature on experimental cinema.
- Reserve for an output with double weighting
- No
- Additional information
- Fields of View is based on a manuscript that A.L. Rees left unfinished on his death in 2014. Rees was a seminal figure in film culture whose earlier book A History of Experimental Film and Video is a key text. Fields of View draws on film theory, literary modernism and art history to elucidate an expanded network of connections between avant-garde film and wider culture. It identifies key terms and images relating to ‘fields’, ‘frames’ and ‘intervals’, and charts their use by filmmakers and film theorists from the 1920s to the present. Given Rees’s reputation, and on the advice of several of his colleagues, the estate and I felt that Fields of View would be a significant contribution to the literature on experimental cinema.
When I took on the project to edit Fields of View, the material comprised a 250-page document and several separate Word documents which constituted different versions of the book’s chapters. My contribution involved substantial organisation, and sometimes interpretation, of these documents. I also amended sections of the prose, primarily to clarify and elaborate on a point where the writing was in an abbreviated form. These instances involved checking different drafts of the chapters and going back to the original sources that Rees cites (whether films, artworks or the literature) to make sure I understood and properly represented the arguments that Rees was engaging with. For the Notes section, I tracked down the details of all of the sources that were mostly cited in a highly abbreviated form in the original manuscript. I also sourced all of the images in the book to illustrate the ideas that Rees relates in his account of various films and artworks. My Foreword discusses the book in relation to Rees’s other writing and wider contribution to the field.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
