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By Jackie Hatfield, Stephen Littman

The previous forty years of technological innovation have considerably altered the fabrics of creation and revolutionized the chances for test and exhibition. now not because the invention of movie has there been any such serious interval of significant switch within the imaging applied sciences available to artists. Bringing jointly key artists in movie, video, and electronic media, the anthology of Experimental movie and Video revisits the divergent philosophical and important discourses of the Nineteen Seventies and repositions those debates relative to modern perform. 40 artists have contributed photos, and 25 artists examine the varied serious agendas, contexts, and groups that experience affected their perform around the interval from the past due Sixties to this point. besides an creation via Jackie Hatfield and forewords by means of Sean Cubitt and Al Rees, this illustrated anthology contains interviews and up to date essays via filmmakers, video artists, and pioneers of interactive cinema. Experimental movie and Video opens up the conceptual avenues for destiny perform and similar serious writing.

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One of the operations of the film is a negotiation between continuity and discontinuity, which is pointed out by – of all people – Marshall McLuhan, in an unexpected voice-over commentary. g. how ‘the electric age’ collapses discontinuities and compounds continuities. Berliner exploits unintended ambiguities in McLuhan’s words, playfully setting them against literal visual realizations of the metaphors he uses. Thus in the film the conceptual is weighed against the sensual, the sudden pleasure of a sync moment offset by the delicate transformation of, for example, the release of a satellite from a space station match-cutting into a man’s dive from the top of a cliff into the blue ocean and then to the shimmer of a turtle far beneath the surface elegantly continuing the diver’s arc though the air.

It was made in one four-hour session, on a single roll of 16mm Ektachrome colour reversal film, the kind that was used for shooting news and sport at the BBC until 1983, when current affairs production started to go over to videotape. Minutiae partly addressed this history, since it was intended originally that the film would be processed in the BBC’s laboratory at Television Centre, edited in one of their cutting rooms and broadcast as an ‘on the day’, that is, shot and transmitted on the same day.

We planned to move in these patterns through the room and record our path on 16mm film. The cinematographer Anthony Forma agreed to help us. We recognized that a primary experience of the photographic cinema is indexical – the viewer looks through the frame like a time-space window into the period and place when the image was produced. However, against this depictive aspect of the cinematic we wanted to play the fact that the film image is materially a small flat transparent surface the function of which is to transform the light that passes through it.

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