A history of artists' film and video in Britain

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書誌事項

A history of artists' film and video in Britain

David Curtis

British Film Institute, 2007

  • : hbk

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注記

Includes index

内容説明・目次

内容説明

In recent years the use of film and video by British artists has come to widespread public attention. Jeremy Deller, Douglas Gordon, Steve McQueen and Gillian Wearing all won the Turner Prize (in 2004, 1996, 1999 and 1997 respectively) for work made on video. This fin-de-siecle explosion of activity represents the culmination of a long history of work by less well-known artists and experimental film-makers. Ever since the invention of film in the 1890s, artists have been attracted to the possibilities of working with moving images, whether in pursuit of visual poetry, the exploration of the art form's technical challenges, the hope of political impact, or the desire to re-invigorate such time-honoured subjects as portraiture and landscape. Their work represents an alternative history to that of commercial cinema in Britain - a tradition that has been only intermittently written about until now. This major new book is the first comprehensive history of artists' film and video in Britain. Structured in two parts ('Institutions' and 'Artists and Movements'), it considers the work of some 300 artists, including Kenneth Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait, Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, Peter Gidal, William Raban, Chris Welsby, David Hall, Tamara Krikorian, Sally Potter, Guy Sherwin, Lis Rhodes, Derek Jarman, David Larcher, Steve Dwoskin, James Scott, Peter Wollen and Laura Mulvey, Peter Greenaway, Patrick Keiller, John Smith, Andrew Stones, Jaki Irvine, Tracy Emin, Dryden Goodwin, and Stephanie Smith and Ed Stewart. Written by the leading authority in the field, A History of Artists' Film and Video in Britain, 1897-2004 brings to light the range and diversity of British artists' work in these mediums as well as the artist-run organisations that have supported the art-form's development. In so doing it greatly enlarges the scope of any understanding of 'British cinema' and demonstrates the crucial importance of the moving image to British art history.

目次

Acknowledgments Introduction Artists Economics PART ONE 1.1: Artists The Film Society Little Magazines Internationalism and Festivals Schooling Artists The London Filmmakers Co-op Into the Gallery Video as Video The 1990s 1.2: Institutions Sponsored Films Museums and Collections Post-War Recovery Experimental Film Fund The Arts Council The BFI Funders and Broadcasters PART TWO 2.1: Film and Fine Art The Camera Landscape Portrait Still Life Collage Pop Art Absurd Psychedelic Sculptors' Films Abstraction Figurative Animation 2.2: Narrative: Fiction, Documentary, Polemic 'Studies in Thought' 1920s Amateurs Grierson's Avant-Garde War Post-War Revival Free Cinema Ambitious Narrative Work The Production of Meaning Image and Voice 2.3: Expanded Cinema and Video Art Film as Film Conceptual Art and Early Installations Video Art and Television Expanded Cinema Other Structures Gidal's Legacy Later Installations 2.4: Politics and Identity Sexual Liberation? Feminism New Romantics Identity The Body Social Space Conclusion Index

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