Movie Circuits: Curatorial Approaches to Cinema Technology attempts to grasp media in the making. It delves into the underbelly of cinema in order to explore how images circulate and apparatus crystallize across different material formations. The indisciplinary experience of curators and projectionists provides a means to suspend traditional film studies and engage with the medium as it happens, as a continuing, self-differing mess. From contemporary art exhibitions to pirate screenings, research and practice come together in a vibrant form of media scholarship, built from the angle of cinema’s functionaries — a call to reinvent the medium from within.
- Cover
- Table of Contents
- Introduction: Blind Optics
- 1. What Is a Movie?
- Film reels
- Electronic broadcast
- Videotapes
- Digital versatile discs
- Codified data
- User agreements
- 2. The Becoming of Cinema
- Territorializing practices
- Aligning medium specificities
- Shifting paradigms
- 3. Projection Studies
- Provocative methods against elusive objects
- Performing material knowledge
- Reassembling the cinematographic field
- 4. Performing Medium Specificities
- Traditional apparatus with improper technology
- An anomalous cinema
- Fixing places, stabilizing practices
- Crystallizing change
- 5. Denied Distances
- The thickness of the screen
- WVLNT: WAVELENGTH for Those Who Don’t Have the Time: Originally 45 minutes, Now 15!
- A Man. A Road. A River.
- Flatland
- I’ve Got a Guy Running
- The Girl Chewing Gum
- Three Transitions
- Paper Landscape #1
- From the depth of projection to the extensions of the city
- 4’22”
- Horror Film 1
- You and I, Horizontal (III)
- Augmented Sculpture and Urban Installations
- GRL: The Complete First Season
- Relational Architectures
- The density of the circuit
- The movie that wasn’t: Pirated Copy
- The movie that was: Steal this Film
- The transience of time
- Acknowledgements
- Comprehensive Bibliography
- Index
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