Installation and the Moving Image
Catherine Elwes
Published:
2015
Online ISBN:
9780231850803
Print ISBN:
9780231174503
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Catherine Elwes
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Published:
May 2015
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Elwes, Catherine, 'Expanded Cinema', Installation and the Moving Image (
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Abstract
This chapter examines expanded cinema as a critical antecedent of moving-image installation. The American critic Gene Youngblood is credited with coining the term “expanded cinema,” which denotes the condition of “liberated film”—a practice that develops the making and viewing of film beyond the conventional screen-to-seating configuration of movie theaters and multiplexes. Expanded cinema explored the relationship of film to what Duncan White describes as “the environment of perception,” testing the limits of cognition by seeking to establish the minimum legibility of sound and picture, the degree of semantic coherence required for the projection to be read as a film. This chapter considers the ways artists emphasize the material instability of the filmstrip as well as the apparatus that could magically bring film to life—but only in darkness. It also discusses the sculptural and phenomenological properties of the projection beam and the spatial relationship between the projector, the shaft of light, and the surface it strikes to create a moving image. Finally, it looks at the emergence of “paracinema” as a variation on expanded cinematic works.
Keywords: expanded cinema, moving image, installation, liberated film, filmstrip, darkness, projection beam, projector, light, paracinema
Subject
Film
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