## A. L. Rees (2011). *Expanded Cinema and Narrative: A Troubled History*. : Tate Gallery Pub. > [!INFO] > Type:: [[chapter]] > Title:: Expanded Cinema and Narrative: A Troubled History > Author(s): [[A. L. Rees]] > Year:: 2011 > Tags:: > DOI:: > Citekey:: rees_expanded_2011-1 > ZoteroURI:: [Open in Zotero: Expanded Cinema and Narrative: A Troubled History](zotero://select/items/@rees_expanded_2011-1) > ReviewedDate:: [[2023-08-28]] ## Citation ```latex [@rees_expanded_2011-1] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@rees_expanded_2011-1]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation '확장형 영화관'은 다양한 종류의 영화 및 영사 이벤트에 대한 탄력적인 이름입니다. 정확히 규정하거나 정의하기 어려운 것으로 악명이 높습니다. 확장 시네마는 생생하게 스펙터클한 것부터 극도로 물질주의적인 것까지, 영화와 비디오 아트의 가장 모순적인 차원을 모두 포괄합니다. Here, expanded cinema is a form of live art, linked to theatre and performance rather than to recorded media as such. > [[Jonas Mekas|Mekas]] echoes the late-Romantic sensibility of the fusion of all the senses, and the symbolist origins of the first European avant-gardes. (12) > Eclectic as it is – and this is only one of many such lists in Mekas's reviews of expanded cinema, which soon added 'dance that uses cinema integrally’ (Movie Journal, 29 Oct. 1964, p.160.) —it focuses on an aspect of North American expanded cinema that continues into its latest variations today, approvingly called by Mekas in 1964 the 'spiritualization of the image'. (Movie Journal. 25 June 1964, p.144.) (13) > “Mekas echoes the late-Romantic sensibility of the fusion of all the senses, and the symbolist origins of the first European avant-gardes.” (Rees, 2011, p. 13) The overall vision in this work, elaborated at the end of the decade by [[Gene Youngblood]], had three aspects. The first was to melt down all art forms, including film, into multimedia and live-action events. The second was to explore elecrronic technologies and the coming of cyberspace, as heralded by Marshall McLuhan. The third was to break down the barrier between artist and audience through new kinds of participation. Each of these challenged existing notions of cinema as a commercialised regime of passive consumption and entertainment. Among the many modes of expanded cinema there were of course differences. While some pioneered the utopian new field of computer graphic imaging, others - notably Jack Smith - sifted the dystopian debris of daily life and mass culture. [Link](zotero://open-pdf/library/items/YHE8IMWK?page=2 ) The interpretation of expanded cinema in the UK, and in Europe generally, took a different turn. [Link](zotero://open-pdf/library/items/YHE8IMWK?page=3 ) , that was conceived for gallery space rather than the screen [Link](zotero://open-pdf/library/items/YHE8IMWK?page=3 ) Nicolson distinguishes artists who make films, such as Dan Graham, David Dye and John Hilliard, from artist-filmmakers (she names Carolee Schneemann, Tony Conrad, Paul Sharits and the UK structural filmmakers). Although respecting both groups, she did not in fact think they should be confused with each other in their shared use of two or more screens. While conceptual artists extend into film the methods and concerns of the other current arts, structural filmmakers turn 5 [Link](zotero://open-pdf/library/items/YHE8IMWK?page=3 ) . Typically, he uses sequenced and repeated shots to question recognition and difference as fundamental facts of viewing. The autonomy of these strategies would have been undermined by the dispersal of the visual field in expanded cinema. [Link](zotero://open-pdf/library/items/YHE8IMWK?page=4 ) analytic investigation [Link](zotero://open-pdf/library/items/YHE8IMWK?page=6) ### Related ```dataview LIST FROM [[@rees_expanded_2011-1]] and -"Plans" and -"resources" ```