Readings

1. In the late 1970s the sculpture was redefined as “expanded field” by Rosiland Krauss. This means that sculpture is anything that can be created in 3d space. This carrys over into film in the idea that performance is sculptural and the mis en scene can be a “family of objects.” One could also argue that since everything in 3d space is a sculpture, film is just a record or documentation of that sculpture.

2. The old way of thinking was that people gained experiences from art only because it was created with the fact that they are physically grounded in space in mind. There was only one way to perceive a piece. The new way of thinking stripped that away and let the viewer decide how one perceives the art.

3. When reffering to “dual articulation” of the Cremaster films, the authors are speaking about the films ability to thwart and fulfill various genres. The first influence from which is borrows is performance art and the second is blockbuster films; due to its high budget and high production values.

Walley Article

1. Walleys aim in this article is to explore the dichotomy between avant garde filmmakers and “artists working in film/video.” The basic difference between the two is that the latter is produced mainly for gallery exhibition.
2. Mode of film practice refers to the historical teaching, texts, and ideas that give a film context in which to exist. Line describing a cone by Mccall is a famous example of a non experimental mode of cinema. Since mode of film practice works on a set of guidelines and previous texts, one can use these texts to separate the two cinematic ideas.