This book maps the presence of moving images within the field of public art through encounters with passersby. It argues that far from mere distraction or spectacle, moving images can produce moments of enchantment that can renew, intensify, or challenge our everyday engagement with public space and each other. These artworks also offer frameworks for understanding how moving images operate in public space—how they move viewers and reconfigure the site of the screen. Each chapter explores a mode of address that examines how artists and curators leverage the moving image’s attentional power to engage audiences, create spaces, make place, and challenge assumptions. This book also examines the difficulties and compromises that arise when using urban screens for public art.

The Moving Image: A Complete Introduction to Film provides students with an accessible and complete introduction to the world of motion pictures. The text covers the basics of how films are constructed, why they matter, and how to analyze them. It highlights diverse filmmakers and approaches, through the study of feature films, music videos, short films, and new media. The text begins by defining cinema, discussing its origins, and introducing students to pioneers of film, including Eadweard Muybridge, Alice Guy-Blaché, and Thomas Edison. Later chapters discuss the fundamentals of film analysis and the concepts of ideology, representation, and identity in film. Students learn about cinematography, narrative structure, sound, editing, acting styles and methodologies, and the various aspects that go into creating a scene. The book features chapters devoted to experimental and cult cinema, documentaries, and animation and CGI technology. It closes with chapters that address authorship and provide an overview of key genres in filmmaking. Designed to provide students with a comprehensive primer on film and cinema, The Moving Image is well suited for film appreciation or introductory film courses.

This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s Experimental Animation: Origins of a New Art (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. With reference to historical, critical, phenomenological and inter-disciplinary approaches, international researchers offer new and diverse methodologies for thinking through these myriad animation practices. This volume addresses fundamental questions of form, such as drawing and the line, but also broadens out to encompass topics such as the inter-medial, post-humanism, the real, fakeness and fabrication, causation, new forms of synthetic space, ecology, critical re-workings of cartoons, and process as narrative. This book will appeal to cross and inter-disciplinary researchers, animation practitioners, scholars, teachers and students from Fine Art, Film and Media Studies, Philosophy and Aesthetics.

This book assesses the contemporary status of photochemical film practice against a backdrop of technological transition and obsolescence. It argues for the continued relevance of material engagement for opening up alternative ways of seeing and sensing the world. Questioning narratives of replacement and notions of fetishism and nostalgia, the book sketches out the contours of a photochemical renaissance driven by collective passion, creative resistance and artistic reinvention. Celluloid processes continue to play a key role in the evolution of experimental film aesthetics and this book takes a personal journey into the work of several key contemporary film artists. It provides fresh insight into the communities and infrastructures that sustain this vibrant field and mobilises a wide range of theoretical perspectives drawn from media archaeology, new materialism, ecocriticism and social ecology.

Elwes takes a journey through the twin histories of landscape art and experimental moving image and discovers how they coalesce in the work of artists from the 1970s to the present day.0Drawing on a wide geographical sampling, Elwes considers issues that have preoccupied film and video artists over the years, ranging from ecology, gender, race, performativity, conflict, colonialism and our relationship to the nonhuman creatures with whom we share our world. The book is informed by the belief that artists can provide an embodied, emotional response to landscape, which is an essential driver in the urgent task of combating the environmental crisis we now face.0The book comprises a series of essays that explore how the moving image mediates our relationship to and understanding of landscapes. The focus is on artists' film and video and draws on work from the 1970s to the present day. Early chapters map the theoretical terrain for both landscape and artists' moving image creating a foundation for the chapters that follow devoted to practice. These address themes of identity politics, performativity and animals and examine examples of British 'weather-blown films' and work from around the world including Indigenous Australian film landscapes. The book offers an informed, personal view of the subject and threaded through the narrative is a concern with the environment and the vexed question of whether an appreciation of nature's aesthetics undermines a commitment to ecology.0The book is written in a clear, engaging style and is enlivened by Elwes's own experiences as a video artist, writer and curator, and the primary material she draws on derived from conversations with fellow practitioners across the years.

Since the 1990s, a cinematographic turn has taken place in contemporary art, paralleled by the emergence of a cinema of exhibition. This collection of new essays investigates the relationships between the white cube and the black box, focusing mainly on the 1970s, a decade in which film practices and moving images were integrated into museums and art spaces. The authors analyze multiple modalities of presenting the moving image through historical case studies: the anatomy of video art, expanded cinema, artists' films and installations, and the moving image in the public sphere. Exploring examples from the 1930s to the present, these contributions address commercial, spectacular or advertising forms of moving images, artists' performative practices, installations in large museums, exhibitions devoted to projections and festivals of experimental films.