Between 1966 and 1976, some independent filmmakers began to make works which questioned the mechanics of cinema. Expanded Cinema went beyond mere projection. This was the event of cinema -the space, the audience and the projection. The artists employed physical interventions in the cinema space, such as flashing light bulbs which illuminated the whole room, clouds of smoke which lit up the cone of light from the projector, and even the creation of mini-cinemas where the sense of touch, rather than sight, was utilised.
This project complements my own practice as a filmmaker: it develops and consolidates my ongoing res...
This thesis will discuss spacial manifestations of the physical, phenomenological, existential, and ...
With machines mediating most of our cultural practices, and innovations, obsolescence and revivals c...
In March 2007, The Teaching and Learning Cinema, an artist group from Sydney, Australia, coordinated...
Within the history of interactive video installations, there is a tradition of integrating the live ...
Studio Studies: Photographic ‘artistry’ in 1950s men’s magazines Laws on pornography in the 1950s ru...
This article investigates the effects mirrors in films can have on the composition of a filmic image...
This article investigates the effects mirrors in films can have on the composition of a filmic image...
This article discusses the relevance of common definitions of the practice of cinematography as pres...
This essay in Millennium Film Journal, a leading publication in avant-garde film and video with a ri...
The research field was curatorship of the Machinima genre - a film-making practice that uses real ti...
In Expanded Cinema Gene Youngblood develops an understanding of cinema as an open form, with its pro...
This was a paper given at Attention: Detail symposium at Nottingham Trent University as part of Summ...
Moving image projection - from its origins to its contemporary forms, and especially at its formativ...
The idea of photography began thousands of years ago, and many theories contributed to the inventi...
This project complements my own practice as a filmmaker: it develops and consolidates my ongoing res...
This thesis will discuss spacial manifestations of the physical, phenomenological, existential, and ...
With machines mediating most of our cultural practices, and innovations, obsolescence and revivals c...
In March 2007, The Teaching and Learning Cinema, an artist group from Sydney, Australia, coordinated...
Within the history of interactive video installations, there is a tradition of integrating the live ...
Studio Studies: Photographic ‘artistry’ in 1950s men’s magazines Laws on pornography in the 1950s ru...
This article investigates the effects mirrors in films can have on the composition of a filmic image...
This article investigates the effects mirrors in films can have on the composition of a filmic image...
This article discusses the relevance of common definitions of the practice of cinematography as pres...
This essay in Millennium Film Journal, a leading publication in avant-garde film and video with a ri...
The research field was curatorship of the Machinima genre - a film-making practice that uses real ti...
In Expanded Cinema Gene Youngblood develops an understanding of cinema as an open form, with its pro...
This was a paper given at Attention: Detail symposium at Nottingham Trent University as part of Summ...
Moving image projection - from its origins to its contemporary forms, and especially at its formativ...
The idea of photography began thousands of years ago, and many theories contributed to the inventi...
This project complements my own practice as a filmmaker: it develops and consolidates my ongoing res...
This thesis will discuss spacial manifestations of the physical, phenomenological, existential, and ...
With machines mediating most of our cultural practices, and innovations, obsolescence and revivals c...