![]() ![]() Abstract moving images in experimental film and video art The role of sound and music in experimental film and video art The effects of the transition from analogical to digital technologies in experimental film and video art Experimental film and video art as challenges to film definitions Where should we appreciate experimental films and works of video art? In movie theaters or in art galleries? How does the screening-location bear upon appreciation? How are experimental film and video art are related to domains of contemporary art such as conceptual art, performance art, installation art? What distinguishes experimental film from video art? What distinguishes experimental films and works of video art from paradigmatic films? Topics for papers and pre-constituted panels may include but are not limited to: This means combining philosophical analysis of abstract notions such as form of art, medium, and genre with the study of the concrete historical development of experimental film and video art, as well as of its connection with the history of film. All this indicates that it might be worth relating the ontological investigation on film to the research on the nature and the variety of appreciative categories, especially those of experimental film and video art, in order to highlight the relevant areas of nesting or overlapping. ![]() Yet, some of these seem still capable of challenging these attempts to capture the ontology and the definition of film (cf. Scholars such as Noël Carroll (1996, 2008), Trevor Ponech (2006) and Berys Gaut (2010) have proposed accounts of the moving image that are aimed to be broad enough to include experimental films and even works of video art. In analytic aesthetics, experimental film, video art, and their connection have been mainly discussed in the debates concerning the ontological nature and the definition of film. One suggestion is to think of these films as challenging cognition and providing lessons in perception (Peterson 1994, Michelson 2017, Taberham 2018) or even providing maximal imaginative engagement. However, it would be worthwhile to push our understanding of experimental cinema by overcoming negations: instead of speaking of experimental cinema in “non” terms (non-narrative, non-mainstream, non-commercial…), finding terms which says something substantive about it. Rees for instance, puts it like this: “The avant-garde rejects and critiques both the mainstream entertainment cinema and the audience responses which flow from it” (2011: 1). Most often, the starting point for film historians and theorists is that experimental film should be primarily construed as oppositional to the mainstream fiction film. Sitney 2002, Dixon and Foster 2002, Michelson 2017). Walton 1970, Davies 2004, Gaut 2010, Friend 2012, Lopes 2014, Abell 2015), and, on the other hand, the historical and stylistic research, as well as the artistic and critical practice, in the domains of experimental film and video art (cf. The idea, therefore, is to realize a synergy between, on the one hand, the research carried out in analytic aesthetics on notions such as appreciative category, art form, medium, and genre (cf. Pursuing these goals requires both theoretical understanding of the relevant categories and empirical knowledge of the relevant works. For this purpose, one should emphasize the way in which experimental films and works of video art differ from paradigmatic films, as well as the way in which experimental film and video art, as appreciative categories, differ from one another. ![]() This conference aims to highlight the contribution of experimental films and video art to contemporary culture. Péter Forgács, Media Artist and Independent Filmmaker. Professor Noël Carroll, Distinguished Professor of Philosophy, City University of New York.ĭr Holly Rogers, Reader in Music at Goldsmiths, University of London.ĭr Erika Balsom, Senior Lecturer in Film Studies and Liberal Arts, King's College London. The project has received funding from the British Society of Aesthetics. Queen Mary University of London, November 5-6, 2020 Experimental Film, Video Art, and the Borders of Cinema London (5.-),Ī British Society of Aesthetics Synergy Conference ![]()
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