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Intermedial Encounters: Experimental Film, Artists' Moving Image & Expanded Cinema

Venue: Online

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This event celebrates the launch of three new publications about experimental film, artists’ moving image and expanded cinema. Kim Knowles’s Experimental Film and Photochemical Practices assesses the contemporary status of photochemical film practice against a backdrop of technological transition and obsolescence. It argues for the continued relevance of material engagement for opening up alternative ways of seeing and sensing the world. Jonathan Walley’s Cinema Expanded: Avant-Garde Film in the Age of Intermedia offers a bold new account of its subject, breaking from previous studies and from larger trends in film and art scholarship and resituating expanded cinema within the context of avant-garde film history. Sarah Durcan’s Memory and Intermediality in Artists' Moving Image addresses the preoccupation with memory in contemporary artists’ moving image installations. It situates artists’ moving image in relation to the transformations of digitalization as hybrid combinations of analogue film, video and digital video emerge from the mid 1990s onwards. In a discussion chaired by Helen de Witt, the authors will discuss these distinct strands of practice: their affinities and antagonisms within an intermedial framework. To coincide with the launch BIMI are hosting a 24 hour screening programme related to the three books.

Film Programme:

James Richards Radio At Night (2015) HD video, colour, sound, eight minutes
Esther Urlus Elli (2015-16) 16mm, colour, sound, eight minutes
Expanded Cinema Documentation: A Compilation from the Archive, Jonathan Walley

Kim Knowles Experimental Film and Photochemical Practices (Palgrave Macmillan 2020)
Jonathan Walley Cinema Expanded: Avant-Garde Film in the Age of Intermedia (OUP 2020)
Sarah Durcan Memory and Intermediality in Artists' Moving Image (Palgrave Macmillan 2021)

All those who register will receive a link to both the live event and screening programme.

Kim Knowles lectures in Alternative and Experimental Film at Aberystwyth University in Wales and curates the Black Box strand of the Edinburgh International Film Festival. She is the author of A Cinematic Artist: The Films of Man Ray (2009) and co-editor (with Marion Schmid) of Cinematic Intermediality: Theory and Practice (2021).  

Jonathan Walley is Associate Professor of Cinema at Denison University. His writing has appeared in October, Millennium Film Journal, Moving Image Review and Art Journal, and in numerous collections of scholarship on avant-garde film and art.

Sarah Durcan is Programme Leader of the MFA Fine Art, National College of Art and Design, Dublin, Ireland. She is a contributor to Extended Temporalities (2016), Moving Image Review and Art Journal and Screening the Past.

Helen de Witt is a curator, lecturer and writer specialising in artists’ film and independent cinema. She is programme advisor for the BFI London Film Festival Experimenta section of artists’ moving image. She has written for Sight & Sound, Animate Projects, and Club Des Femmes. Helen is an associate lecturer in Film Studies at Birkbeck University of London and at University of the Arts London, and a visiting lecturer at the National Film and Television School.



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