# Catherine Elwes (2015). *Expanded Cinema*. : Columbia University Press. > [!INFO] > Type:: [[]] > Title:: Expanded Cinema > Author(s): [[Catherine Elwes]] > Year:: 2015 > Tags:: > DOI:: > Citekey:: elwes_expanded_2015 > ZoteroURI:: [Open in Zotero: Expanded Cinema](zotero://select/items/@elwes_expanded_2015) > ReviewedDate:: [[2024-01-18]] ## Citation ```latex [@elwes_expanded_2015] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@elwes_expanded_2015]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation > The temporality of the work shifted from the narrative compressions and elisions that enable a biopic to tell the story of a life in an hour so, to a consideration of the time it takes a film to pass through the projector witnessed by spectators held in the same parcel of time (166). > In common with many experimental filmmakers, proponents of expanded cinema were committed to eliciting the participation of the viewer in the space of projection, both viewer and environment being regarded as material components of the work. (166) [[Gene Youngblood]]의 유명한 글이 있지만 각각 다르게 부른다 [[Peter Kubelka]] - Invisible film [[Carolee Schneemann]] facoured ‘cinematic theatre’ [[Stan VanDerBeek]] - the cultural intercom’ However, Youngblood’s ‘expanded cinema’ is the commonly accepted term, one that historically denotes the condition of what WALIE EXPORT called ‘liberated film’, a practice that develops the making and viewing of film beyond the conventional screen-to-seating configuration of movie theatres and multiplexes. 이러한 Expanded Cinema에 대한 해석은 [[@rees_expanded_2011|Expanded Cinema: Art, Performance, Film (2011)]] VALIE EXPORT에 대해선 [[@rees_expanded_2011]], 290 > Expanded cinema turns attention away from conventional narrative, and what [[Malcolm Le Grice]] called ‘the single line of access to a story’ and refocuses on the drama of apparatus of film: the projector, the screen(s), the filmstrip, the projection beam and the ‘primary experience’, the ‘present tense’ of the unique, one-off cinematic event. (165) The temporality of the work shifted from the narrative compressions and elisions that enable a biopic to tell the story of a life in an hour or so, to a consideration of the time it takes a film to pass through the projector witnessed by spectators held in the same parcel of time […] both viewer and environment being regarded as material components of the work […] Further, expanded cinema explored the relationship of film to what [[Duncan White]] descrives as ‘the environment of perception’ (166) [[@white_expanded_2011]], 233 만약 [[Siegfried Kracauer]]가 말한 것처럼 필름 이미지는 spectator의 senses에 영향을 끼친다면 그것은 vision and hearing이 predominately by means of two senses > Where there is a difference in presentation between expanded cinema in the counter-cultural era and contemporary moving image installation, it is largely a question of emphasis. Nowadays an installation is less likely to focus on the specificities of a given medium and its apparatus, and artists tend towards a catholic use of materials, picking and choosing their medium according to the requirements of the project. (166) > 반문화 시대의 확장된 영화와 현대의 움직이는 이미지 설치 사이에 표현에 차이가 있다면, 그것은 주로 강조점의 문제입니다. 오늘날 설치 작업은 특정 매체와 그 장치의 특수성에 초점을 맞추기보다는 프로젝트의 요구 사항에 따라 매체를 선택하고 선택하는 가톨릭적인 재료 사용 경향을 보입니다. > At its inception, however, the technology of expanded cinema, its mechanical armature was indeed critical. Commentators, notably [[Chrissie Iles]], have stressed the sculptural dimension of the apparatus, and here the artisanal, hands-on, serendipitous aspects of working directly with celluloid find happy historical bedfellows in the modernist wielders of saws, chisels and palette knives and, in the case of Gustav Metzger’s ‘auto-destructive’ art, acid, with which he attacked the illusionism of pictures on stretched nylon canvas. The artists was now engaged in a form of hand-to-hand combat with the traditional materials and processes of both painting and film. (166-7) > 그러나 초창기에는 확장 된 영화 기술, 기계식 뼈대가 실제로 중요했습니다. 특히 [[크리시 일스]] (Chrissie Iles)와 같은 평론가들은이 장치의 조각 적 차원을 강조했으며, 여기서 셀룰로이드로 직접 작업하는 장인적이고 실습적이고 우연한 측면은 톱, 끌 및 팔레트 나이프를 사용하는 모더니스트와 구스타프 메츠거의 '자동 파괴'예술의 경우 나일론 캔버스에 그림의 환상주의를 공격 한 산에서 행복한 역사적 동반자를 발견했습니다. 예술가들은 이제 회화와 영화의 전통적인 재료와 프로세스를 직접 손으로 부딪히며 전투를 벌이고 있었습니다. 다시 말해서 과거엔 미디엄에 대한 혹은 [[modernism]]에 대한 공격을 위해 medium이 사용되었다면 현재의 접근 방식은 그 강조점이 달라저 프로젝트 요구 사항이 중심점이 되었다. > Other academics have highlighted those characteristics that expanded cinema holds in common with classic cinema itself: the time-based of the projected image, the schedule of screenings, the dependence on concentrated points of artificial light in a darkened, cloistered space, the generation and control of sound, and, as Meave Connolly has explored in depth, the social arena these circumstances create. (167) [[@connolly_place_2009]] 그렇기에 시네마적인 미디엄의 특징들이 많이 강조되었다. - 영사 이미지의 시간 기반, - 상영 일정, - 어둡고 밀폐된 공간에서 인공 조명의 집중된 지점에 대한 의존도, - 사운드 생성 및 제어 ### 빛과 프로젝션, "Spatial Films (174)" 60-70년대 영국 확장영화 아티스트들은 principally concerned 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 and image. 여기서 예시가 되는 것이 [[Anthony McCall]] [[Line Describing a Cone (1973)]] > In the 1970s, films enjoyed a fugitive pre-existence in the turbulence of cigarette smoke and dust particles animating the projection beam. [[Anthony McCall|McCall]] recreated the rendering of light as mass, initially with the aid of his friends’ reckless smoking, and later, by pumping dry ice into the gallery. ![[38FBF98B-7987-4619-9E35-4593CA476D38_1_105_c.jpeg]] 최근 작업 [[Between You and I (2006)]] 에서 빛은 digital, > With no discernible source of the light, it was now possible to replace a materialist reading with a more spiritual one. (174) > [[Anthony McCall|McCall]] has observed how the fragility of his work instils in visitors a rare courtesy; viewers avoid obscuring the beam from others and when I saw the work in the context of a private view, the interpersonal elements, the breathless conversations in the semi-darkness returned the work to the shared raptures of a pleasure palace. (174) 맥콜은 작품의 취약성이 관람객에게 보기 드문 예의를 심어주는 것을 관찰했습니다. 관람객은 다른 사람의 빛을 가리는 것을 피하고, 사적인 관람의 맥락에서 작품을 보았을 때 대인 관계적 요소, 반 어둠 속에서 숨 가쁜 대화가 작품을 유희 궁전의 공유된 황홀경으로 되돌려주었습니다. 이러한 빛의 경험을 [[George Baker]]는 ‘in and out of the sculptural field altogether.’ [[@baker_film_2006]], 13 > However, [[Anthony McCall|McCall]]’s ‘solid light’ films also demonstrate the extent to which expanded cinema, steeped in a minimalist, structural tradition, can activate human emotion and our proclivity to plunder both personal and cultural iconography to narratives non-narrative sense data. (174) > 그러나 [[앤서니 맥콜]]의 '견고한 빛' 영화는 미니멀하고 구조적인 전통에 충실한 확장된 영화가 인간의 감정과 개인적, 문화적 도상학을 비서사적 감각 데이터를 네러티브화로 약탈하려는 우리의 성향을 얼마나 활성화할 수 있는지를 보여줍니다. > 그들의 작품이 의도하지 않은 반향을 불러일으킬 수 있음에도 불구하고(종교적 신앙의 본질, 공습 속의 런던), 대부분의 1세대 확장 시네마 아티스트들은 영사기, 광선, 공간, 관중 등 영사 이벤트의 앙상블이 작품의 중심 관심사로 남아있어야 한다고 주장했습니다. [[Tony Oursler]] 의 경우 self-reflexivity of expanded cinema와 ‘retrospection’ of history ([[Malcolm Le Grice]]의 말을 [[Lucy Reynolds]] 가 인용함 http://www.studycollection.co.uk/filmaktion/Frameset1.html) ### Related ```dataview LIST FROM [[@elwes_expanded_2015]] and -"Plans" and -"resources" ```