The Palgrave Handbook of Experimental Cinema

Contents
Notes on Contributors
List of Figures
1 Introduction
2 State of the (Sub)Field: A Roundtable on Experimental Film Studies
	Introduction
	Johanna Gosse
	Erika Balsom
	Erica Levin
	Genevieve Yue
	Gregory Zinman
	Johanna Gosse
	Erika Balsom
	Erica Levin
	Genevieve Yue
	Gregory Zinman
	Johanna Gosse
	Erika Balsom
	Erica Levin
	Genevieve Yue
	Gregory Zinman
	Johanna Gosse
	Erika Balsom
	Erica Levin
	Genevieve Yue
	Gregory Zinman
	Johanna Gosse
	Erika Balsom
	Erica Levin
	Genevieve Yue
	Gregory Zinman
	Johanna Gosse
	Erika Balsom
	Erica Levin
	Genevieve Yue
	Gregory Zinman
Part I Forms
3 The Practice of “Non-knowing”: Experimental Cinema’s Blurred Aesthetics
	Clear and Confused
	Optical Variations
	Motion-Blur
	Experimental Mediology
	Light Play
	Digital Materialities
	Conclusion
4 Cut-Ups: First Blood
5 Midnight in Andalusia: Mainstream Cinema and the Avant-Garde
	“As Beautiful as a Bathroom”: Buñuel and Buster Keaton
	The Discreet Charm of the Irrational: Buñuel and Woody Allen
	Conclusion
6 Unframing
7 Poetic Procedures in David Gatten’s The Great Art of Knowing and The Extravagant Shadows
	The Great Art of Knowing
		The Valuable Library
		Inky Words in Flight
		“Without”
		David Gatten’s “Secrets of History”
	The Extravagant Shadows
		Exploring Materials
		Planting, Erasing
		David Gatten’s Marginalia
	Conclusion
8 Matters of Photochemical Alchemy/Chymistry: On Contemporary Handmade Filmmaking
	Darkened Laboratories
	Not Knowing: Aleatory Materialism
	Against Transcendence
	From Alchemy to Chymistry
Part II Perception, Dream, Emotion
9 A History of Dreams, or, The Experimental Cinema of Georges Perec
	Parachute Jump
	Deserter
	A Man Asleep
	Dream Cinema
	Translation
	Memory and Dream (Psychoanalysis)
	Form
	Superimposed
	Nights as Day, Days as Night
	Collective Memory, Dream Collective
	“You/I”
	Myth of the Present
	Present Past Personal
	Screen Memory
	Stunt Double
	Postscript (Disguise)
	Postscript (Telepathy and Dreams)
10 Experimental Film, DW Winnicott, and Object Relations: A Thought Experiment
	Brakhage’s Situation of Childhood
	Transitions, in Theory
	To Tie It More Clearly
	Fugue #1
	Winnicott on the Screen
	Fugue #2a
	Lacan, Obviously
	Fugue #2b
	Camera/Fetish
	Fugue #3
	Relatable Relations
11 Annette Michelson and the Future of the Cognitive Theory of Avant-Garde Film
	Michelsons Cognitive Theory of Art
	Michelson’s Epistemological Shift
	The Future of the Cognitive Theory of Avant-Garde Film
12 Strange Feelings: Experimental Film, Cognition, and Emotion
	Introduction: Matter over Mind?
	Getting Clear About Narrative
	“Think Pieces”: Non-Narrative Experimental Film’s Epistemic Diffuseness
	“Mood Pieces”: Non-Narrative Experimental Film’s Affective Diffuseness
	Conclusion, and a Coda on Wonder, Awe, and the Sublime
13 Splinter in My Eye: Structural/Materialist Film
	The Formation of Structural/Materialist Film Theory
	Structural/Materialist Film and its Relation to Marxist Theory
	Blind Filming: Room Film 1973
	Denials: Denial or Affirmation
Part III Post-Colonialism and Ethnography
14 “If These Lands Could Speak:” Dislocating Archives Through Process Cinema
	Counter-Archives
		Suit of lights
	Performing the Archive
		Slaughterhouse
		“If These Walls”
15 Anti-Colonial Cinema Practices: Dialogical, Experimental, Photochemical Film Praxis in Puerto Rico
16 An Experimental Ethnographic Cinema in Mexico: The Case of Nicolás Echevarría’s Judea
	Introduction
	Early Experimentalist Encounters
	Narrating the Cora
	“An Inexhaustible Network of Relationships”
	Between Rouch and Echevarría
	Conclusion
Part IV Body
17 No Sex Please: Film, Feminism and Sex in the 1970s and 1980s
18 Disarticulating Authorship: Vicky Smith’s Direct Animations
	33 frames per foot
	sobbingspittingscratching
	Not (a) part
19 Processing Problems: Experimental Film, Pornography, Historiography
20 Visioning Reproductive Labour in Experimental and Artist Film Representations of Gestation and Birth
Part V Ecology
21 Experimental Film Practice and the Biosphere
22 Negotiating Human and Non-human Entanglements in Experimental Cinema
	Animal Life and Screen Representation: From Slow Cinema to Experimental Cinema
	Blurring Boundaries: Interspecies Communication in Blua
	Between Care and Control: Laborat
	Views from a Dairy Farm: On Cowshed
	Conclusion
23 Color Field Film: Post-Painterly Landscapes in Experimental Cinema
	The Black Square
	Mountains and Sea or the Origin Myth of Color Field Painting
	Nature Abhors a Vacuum: Landscape as Muse
	Color Field Film: Before and After the Deluge
	Working the Line: Barnett Newman & Paul Sharits
	Working the Edge: Morris Louis and Michael Snow
	Post-Painterly Abstraction in Contemporary Experimental Landscape Films
	Filming the Atacama Desert
	Daïchi Saïto’s earthearthearth
24 An Ethics of Place and Ways of Telling: Finding a Feminist Eco-cinema in Moving Image’s Ecological Turn
	An Eco-feminist Praxis
	Taking a Breath
	An Experimental Eco-cinema?
	First Person Plural
	Women’s Space
	A Feminist Eco-cinema?
25 Larry Gottheim’s Entanglement: “Going Against the Clock” (an Essay Entangled with a Conversation)
Part VI Placing Experimental Film
26 Toward a Practice of Experimental Cinema-Making
27 A Space That Breathes: Discotheques, Display and Environment in 1960s Japanese Expanded Cinema
	From Space to Environment, Display and Intermedia
	Discotheques: MUGEN, Angura Pop and Killer Joe’s
	Expanded Cinema After Discotheques
28 A Defense of Norman McLaren’s Place in Experimental Film History in Canada
29 Ghost Writing: Where is Australian Experimental Film?
	Locating Australian Experimental Film
	Many Ways to Write the Story of Australian Experimental Film
	Expanded Cinema—A Microcosm of the Australian Situation
	Experimental Film and Television Fund—Government Sees an Opportunity in a Productive Community
	Cantrills Filmnotes—A Case Study in the Pros and Cons of Being on the Margins
	The Sydney Super 8 Scene—A Case Study in Community Dynamics
	The Melbourne Modern Image Makers Association—A Case Study in Organisational Change
	Can we ACCESS Australian Experimental Films from the Past Today?
	Recent Sightings of Experimental Film
	Conclusion
30 Minor Dedications
	The Dedicated Object
	The Dedication as Collaboration
	Secret Recipients
	The Future and the Family
	The Gift of a World
Bibliography
Index