A number of articles here approach the outer limits of cinema: cinema outside the space of the movie theatre; cinema where the focus is no longer on the screen (Anthony McCall's Line Describing a Cone ); ci...
Examining the 1953 Japanese film Twenty-Four Eyes, Ayako unravels how affective discourses such as crying have been appropriated for "higher" purposes in Japanese history, making women's tears rarely their own.
Establishing a connection between the techniques of turn-of-the-century dancer Loïe Fuller and theories of movement emerging at the time, Brannigan argues for the place of Fuller's dancefilm in the development of the cinematic apparatus.
Tscherkassky's career, which ranges from work on Super 8 to 35mm, is distinctly post avant-garde, characterised by a unique approach to traditions of filmmaking, film theory, the physicality of film, the self and the history of cinema.
Writing in 2002, Dercon discusses the trends and principles which underlie work by a younger generation of gallery-based film and video artists – a "tertiary cinema" which may prefigure new developments in the medium as a whole.
Yue looks at the late '60s, early '70s moment when cinema and video intermingled in the gallery space; in particular, she examines Anthony McCall's Line Describing a Cone and Bruce Nauman's Live-Taped Video Corridor as exemplars.
Examining Salla Tykkä's trilogy, exhibited earlier this year, Walsh argues it's far removed from the deconstructionist mode of film installation, and that it instead explores ideas of spectatorship and emotion, narrative and genre in ways conducive to feminist aesthetics.
McMullen's varied career has taken him from gallery art to feature filmmaking and back again. This 2001 interview focuses on his exhibited video projection Signatures, a response to the technology and ideas of modern physics.