An excerpt from:
‘Surface & Projection – an investigation of the event of cinema‘
– a thesis by Louise Curham for Master of Fine Arts, Time Based Art 2004 at the College of Fine Arts, University of New South Wales, Sydney, Australia.
Curham started researching expanded cinema as a context for her artwork Moving Still Life, a rigorously analogue ‘new media’ work. For Curham, expanded cinema best amplifies the impetus behind Moving Still Life as a reconstituted cinema event, the result of the disassemblage of the event of cinema.
By way of introduction, the term ‘expanded cinema’ refers to a body of work made from the late 1950s to the mid 1970s that aimed to ‘expand’ the traditional function and presentation of moving images. There are two dominant strands in expanded cinema, an interest in deconstructing cinema and its potential as spectacle.
The existing literature in English on expanded cinema is far from extensive. Several useful texts are published in French. Given the paucity of materials on the topic, they are documented fairly extensively here […]
[read the rest of this thesis excerpt as a PDF here.]