Experimental Cinema
Structures, Systems and Strategies
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Product details:
- Publisher Bloomsbury Publishing (UK)
- Date of Publication 28 May 2026
- ISBN 9781839026485
- Binding Paperback
- No. of pages256 pages
- Size 232x156x18 mm
- Weight 560 g
- Language
- Illustrations 130 colour illus & 70 bw illus 700
Categories
Long description:
Experimental Cinema examines a range of structures, systems and strategies that film and video artists have developed from the late 1960s to the present. Over the decades, artists have responded to the ever-changing medium of cinema and its technological advances, as well as taking inspiration from painting, sculpture and music.
Simon Payne argues that the evolution of methodical strategies in experimental cinema goes back to the first avant-garde films made a century ago, in the 1920s. He shows how key figures internationally have formed part of this picture since then, but suggests that the most thorough formal exploration of cinema can be credited to a generation of artists that began making films in Britain in the 1960s and 1970s.
Payne analyses the work of numerous influential artists including Peter Gidal, David Hall, Malcolm Le Grice, Annabel Nicolson, Jayne Parker and Guy Sherwin. He discusses recent and lesser-known works as well as canonical films, videos and expanded cinema. He also pays close attention to younger artists including Jenny Baines, Neil Henderson, Jennifer Nightingale and Samantha Rebello.
Experimental Cinema traces a lineage that has defined some of the central preoccupations of artists' film and video, which continue to test our expectations of cinema, television and the moving image.
Table of Contents:
Acknowledgements
Introduction: Three Ss
After Duchamp: William Raban
By candlelight: Elemental cinema and flicker
Constructivism into film: Systems art and Guy Sherwin
Dark from light: Nick Collins' films
Film music: Jayne Parker and John Cage
Games and challenges in artists' films and videos
In search of a sensual philosophy: Malcolm Le Grice
Knitting patterns in Jennifer Nightingale's films
Lengths and lines: Artists' filmstrips
Matches: Responses to Annabel Nicolson's expanded cinema
Not far at all: Peter Gidal
Object no.1: Montage in Samantha Rebello's films
Primary structures: David Hall's sculpture of the screen
Quartet and quadrants: Nicky Hamlyn
Signals: Teaching, learning and positive feedback
Tree Again: Chris Welsby
Vide0void: David Larcher and Anthony McCall
Words: John Smith and Lis Rhodes
Zeros and ones: Abstract digital cinema
Conclusion: History and criticism
