Books in the Experimental Film and Artists' Moving Image series

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.

This book maps the presence of moving images within the field of public art through encounters with passersby. 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.

This book assesses the contemporary status of photochemical film practice against a backdrop of technological transition and obsolescence. 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.

Beginning with a chapter on the theorization of memory and the moving image and the diverse genealogies of artists' film and video, the following chapters identify five different mnemonic modes in artists' moving image: critical nostalgia, database narrative, the 'echo-chamber', documentary fiction and mediatized memories.