Course Proposal/The Art of the Moving Image Ji Hoon Kim

The Art of the Moving Image in the 20th Century

: Avant-garde Film, Video, and Installation Art
Department of Cinema Studies
Ji Hoon Kim

Course Description
This survey-type course will offer an extensive history of how various types of film and
video practices have developed in and around the terrains of art in the 20th century.
Neither an introductionary course on experimental film nor on video art, it will
investigate and analyze a wide variety of moving image technologies in their multifaceted
relation to the history of visual and performing arts. A range of conceptual and aesthetic
notions defining the art of the last centuryFrom Cubism, Dada, Constructivism, and
Surrealism to Pop, Fluxus, Minimalism, Performance, Conceptualism, and
Appropriationwill be addressed and discussed, in relation to how they have urged us to
expand the ontology of cinema and our understanding of it as an art form. In turn, this
course will attempt to construct an aesthetic and conceptual genealogy of the
intersections between cinema and the art of the twentieth century, considering how the
themes and forms of those early practices anticipated the current widespread use of
moving images in museums and galleries. Artists and Filmmakers under investigation
include: Man Ray, Marcel Duchamp, Fernand Lger, Hans Richter, Stan Brakhage, Maya
Deren, Bruce Conner, Peter Kubelka, Robert Whitman, Stan Vanderbeek, Andy Warhol,
Nam June Paik, Yoko Ono, Richard Serra, Paul Sharits, Anthony McCall, Hollis
Frampton, Marcel Broothaers, Vito Acconci, Joan Jonas, Dan Graham, Yvonne Rainer,
Robert Smithson, Gordon Matta-Clark, Stan Douglas, Pierre Huyghe, Douglas Gordon,
Tacita Dean, Doug Aitken, and Eija-Liisa Ahtila, and others.

Pedagogical Function

The major functions of this survey-type course on the history of the art of the moving
image are:
- To offer conceptual frameworks for thinking the history and aesthetics of cinema
through that of modern and contemporary art, and, in doing so, to lay the groundwork for
clear understanding of how key ideas and innovative practices by artists have worked in
tune with, and even influenced, various dimensions defining cinema as art.

- To view the history of experimental cinema and that of modern and contemporary art
from different perspectives, namely, in terms of illuminating how cinema has lain at the
heart of key shifts in the idea and invention of the art in the twentieth century, and, in turn,
how key moments and filmmakers of the former have been inspired by the latters
changes of climate.

- To establish an interdisciplinary approach to cinema by virtue of the negotiation of film

theory and history with art history, theory, and criticism, including discourses on the
impact of technological changes on the idea and formation of the medium.

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

- To present the changing landscape of cinematic ontology both within and outside the
theatre, by paying attention to the anti-dominant models of cinema over the last century
and simultaneously to forms of audiovisual and kinetic experience that have addressed
cinema from the standpoint of other arts, including video art.

- To exercise how to think, express, and write critically about the forms of the moving
image that blur the boundaries between the gallery and the cinema, by using a range of
theoretical discourses in film studies and contemporary art.

Description of Method
This course is arranged thematically, with lectures developed and readings and screenings
(both clips and shorts/features, and other material presentations, documentations and
illustrations, included) selected in order to proceed systematically through the proffered
key concepts and tendencies associated with the formal, aesthetic, cultural, and
institutional relationships between cinema and its neighboring arts. In addition, the films
and videos to be screened are simultaneously chosen to proceed chronologically through
one-hundred-year period so that the students will keep track of the major historical
changes of those relationships.

This course will present an interdisciplinary history of this era in the practices of making
moving images, encompassing the emergence and development of film as modern art, the
radical reconfiguration of it in the post-war period, various experiments with video for
establishing it as a medium along with competitions between different definitions of art,
and the growing merger between film and video in the terrains of both contemporary art
and art cinema. To address and examine this close encounter between two disciplines,
namely, cinema and the art of the twentieth century, this courses reading is designed to
balance readings of film theory and history and those of art history and criticism,
bringing both into dialogue. Through this, certain canonical histories that distinguished
film as a unique and untouchable art will be as much questioned as dogmatic medium
specific discourses in modern and contemporary art that asserted a clear-cut distinction
between a certain art form and the others. This, too, will reposition various formal,
aesthetic definitions and manifestations of cinema as art and the art of the moving
image on the common historical grounds, including the larger cultural and ideological
moments of which they have been a part.

In this way, this course ultimately aims to broaden our view of the cinematic into the
terrains of art practices outside the theatreexpanded cinema, video art, film
performance, moving image installations, investigating how they are affected by and at
the same time transform the histories and aesthetics of cinema. Through discussion,
reading, screening, and various material presentations, students will see that a wide range
of parallels between cinema and other arts of the moving image must be considered in
order to acquire a deepened and nuanced understanding of how and where it comes to
exist now.

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Proposed Syllabus
Grading Breakdown
20%: Class Participation, Preparation, and Discussion in-class/via Facebook
20%: Weekly Film/Video Reviews
20%: Mid-term Exam
40%: Final Paper

Expectations:
In addition to the readings and screenings, each student will have the following
requirements and expectations.

1. Online Discussion via Facebook: Though not mandatory, each student is expected to
join and engage the discussion group for this class at Facebook. The discussion, which
will take place occasionally, might be about some issues that were not discussed enough
on the after-screening conversation about the film, or about others that relate to key
themes, assigned articles, or clips of the previous session. Additional materials such as
online clip links, newly uploaded clips, and newspaper articles, and journal criticisms
will be provided for the student in relation to the topic raised by the instructor. The
degree of each students participation, and how he/she expresses his/her own argument
on the topic will be an integral part of evaluating his/her participation.

2. Weekly Film/Video Reviews: From session 3 onwards, each student is required to

submit two page review of the film and video you have watched at the previous session
(For instance, session 3 is the deadline for review on the feature screened on session 2).
Now that most of the films and videos screened have short running time, he/she must deal
with at least two works of the previous session for the object of his/her review.
It should not contain a detailed description of the narrative. Instead, each student is
expected to present how he/she understands formal languages and aesthetic conventions
of the works in question, and to associate it with their own historical, cultural, and
technical contexts. Involvement with at least one required reading from the previous
session, and how his/her own voice is heard in relation to the reading is also necessary.

3. Mid-term Exam (During Session 8): In this set of fifty questions, consisting of
multiple-choice (20), true-or-false (15), fill-in-the-blank (15), each student will be tested
how he/she understand the assigned readings, lectures, and films shown in the class.

4. Final Paper: each student should write 8-to-10-page research paper by choosing a
topic concerned with themes of a session. A list of proposed topics and related questions
are as follows:

- How does an artist address, appropriate, and transform cinema in his/her formal,
technical, and expressive practices? How does it relate to the idea of cinema as a
historical art form?

- Relationships between cinema and other art forms (photography, performance, video art,
painting, and installation) not in terms of the representation of one by the other (for

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

instance, the representation of an artists life and persona in the bio-pic genre), but in
terms of their correspondence of idea (for instance, the idea of the avant-garde, film as
art), form, and technique within a specific historical context. Under what condition did
one embrace the other?

- An examination of how a certain artistic idea or school (Dada, Surrealism, Minimalism,

Conceptualism, etc.) dealt with cinema as part of its artistic manifestations. If its practice
produced a set of films, how are they differentiated from other kinds of film? Or how did
they contribute to providing a distinct or expanded understanding of film as art?

- In what ways can a certain dominant tendency or genre in avant-garde filmfor

instance, lyrical film, structural film, found footage film, or essay filmbe understood
differently by comparing it with an artistic movement or style that shared its (formal,
ideological, aesthetic, and cultural) interests?

- Relationships between film and video: in what ways was video regarded as
distinguished from film? How did artists consider video as their medium in relation to, or
in contrast to, cinema? Under what technological, aesthetic, and institutional conditions
do their boundaries change?

- Topics on todays artists film and video/moving image installations: how do they
reinterpret the history, memory and language of cinema? Can we define them as other
kinds of cinema or cinematic variations of video?

In your paper, you must cite at least four written scholarly sources, books or articles. At
least two sources must be ones that you find in the library or elsewhere.

Required Textbooks:
A. L. Rees, A History of Experimental Film and Video (London: BFI Publishing, 2008)-
EFV
P. Adams Sitney, Visionary Film: The American Avant-garde 1943-2000, third edition
(New York: Oxford University Press, 2002)- VF
P. Adams Sitney (ed.) Film Culture Reader (New York: Cooper Square Press, 2000)
FCR
Tanya Leighton (ed.) Art and the Moving Image: A Critical Reader (London: Tate
Publishing, 2008) AM

Course Schedule

Session 1: IntroductionAvant-garde Traditions and The Art of the Moving Image

Screenings:
Rhythmus 21 (Hans Richter, 1923, 4 min.), Ballet Mcanique (Fernand Lger and Dudley
Murphy, 1924, 11 min.), Symphonie Diagonale (Diagonal Symphony, Viking Eggeling,
1924, 7 min.), Spirals (Oskar Fischinger, 1926, 6 min.), Study No. 6 (Fischinger, 1930, 3

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

min.), Study No. 3 (Fischinger, 1931, 2 min.) , Opus I-IV (Walter Ruttmann, 1921-1925,
8 min.), La Roue (Abel Gance, 1923, excerpt)

Required Readings:
A. L. Rees, Introduction and Part I: The Canonical Avant-garde up to Origin of
Abstract Film, EFV, pp. 1-36.

Malcolm Le Grice, Art and Cinematography and The First Abstract Film, Abstract
Film and Beyond (Cambridge, MA: MIT Press, 1977), pp. 7-31.

Rosalind E. Krauss, The Originality of the Avant-garde, The Originality of Avant-

garde and Other Modernist Myths (Cambridge, MA: MIT Press, 1986), pp. 151-170.

Recommended Readings:
Standish Lawder, Modern Painters Discover the Cinema and Film as Modern Art:
Picasso, Survage, Kandinsky, Schnberg, The Cubist Cinema (New York: New
York University Press, 1975), pp. 1-34.

German Dulac, From Visual to Anti-visual Films, The Essence of Cinema: The
Visual Idea, The Avant-garde Cinema, The Avant-garde Film: A Reader of
Theory and Criticism, ed. P. Adams Sitney (New York: New York University Press,
1978), pp. 31-48.

Peter Brger, Theories of the Avant-garde, Art of the Twentieth Century: A Reader, eds.
Jason Gaiger and Paul Wood (New Haven, CT: Yale University Press, 2003), pp.
56-62.

Session 2: Early European Avant-garde I, From Dadaism to Machine Aesthetics (1920s)

Weekly Film/Video Review Begins

Screenings:
Emak-Bakia (Leave Me Alone, Man Ray, 1926, 16 min.), L'toile de mer (The Starfish,
Man Ray, 1928, 15 min.), Les Mystres du Chteau du D (The Mysteries of the Chteau
of Dice, Man Ray, 1929, 20 min.), Anmic Cinma (Marcel Duchamp, 1926, 6 min.),
Entracte (Rne Clair, 1924, 22 min.)

Required Readings:
Rees, From The Absolute Film to Reviewing the First Avant-garde, EFV, pp. 37-55.

Thomas Elsaesser, Dada/Cinema? Dada and Surrealist Film, ed. Rudolf E. Kuenzli
(Cambridge, MA: MIT Press, 1996), pp. 13-27.

Paul Wood, The Revolutionary Avant-gardes: Dada, Constructivism and Surrealism,

The Challenge of the Avant-garde, ed. Paul Wood (New Haven, CT: Yale
University Press, 1999), pp. 226-256.

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Recommended Readings:
David Joselit, Modern Machines: from the Virgin to the Widow, Infinite Regress:
Marcel Duchamp 1910-1941 (Cambridge, MA: MIT Press, 2001), pp. 111-156.

F. T. Marinetti et al. The Futurist Cinema, Multimedia: From Wagner to Virtual

Reality, expanded edition, eds. Randall Packer and Ken Jordan (New York and
London: W. W. Norton & Company, 2001), pp. 10-15.

Noam Elcott, Darkened Rooms: A Genealogy of Avant-garde Filmstrips from Man Ray
to the London Filmmakers Co-op and Back Again, Grey Room, Vol. 30 (Winter
2008), pp. 6-37.

Session 3: Early European Avant-garde II: Constructivism and Surrealism (1920s and
1930s)

Screenings:
Lightplay: Black/White/Gray (Lszl Moholy-Nagy, 1930, 6 min.), Aelita: The Queen of
Mars (Yakov Protazanov, 1924, excerpt), La Coquille et le Clergyman (The Seashell and
the Clergyman, Germaine Dulac, 1926, excerpt), Un chien andalou (Luis Buuel, 1929,
16 min.), Man with a Movie Camera (Dziga Vertov, 1929, 68 min,)

Required Readings:
Yuri Tsivian, Turning Objects, Toppled Pictures: Give and Take between Vertov's Films
and Constructivist Art, October, Vol. 121 (Summer 2007), pp. 92-110.

Dziga Vertov, We: Variant of a Manifesto, Kinoks: A Revolution, and From Kino-
eye to Radio-eye, Kino-Eye: The Writings of Dziga Vertov, ed. Annette Michelson
(Berkeley, CA: University of California Press, 1985), pp. 5-9, 11-20, 85-91.

Writings by Surrealist Artists:

(On Dcor (Louis Aragon), As in the Wood (Andr Breton), Sorcery and Cinema
(Antonin Artaud), The Cinema, Instrument of Poetry (Luis Buuel)), from The
Shadow and Its Shadow: Surrealist Writings on the Cinema, trans. and ed. Paul
Hammond (San Francisco, CA: City Light Books, 1991)

Recommended Readings:
Hal Foster, Compulsive Beauty, Compulsive Beauty (Cambridge, MA: MIT Press,
1995), pp. 19-56.

Christena Lodder, Soviet Constructivism, Art of the Avant-Gardes, eds. Steve Edwards
and Paul Wood (New Haven, CT: Yale University Press, 2004), pp.359-393.

Annette Michelson, The Wings of Hypothesis: Montage and the Theory of the Interval,
Montage and Modern life, 19191942, ed. Matthew Teitelbaum (Cambridge, MA:
MIT Press, 1992), pp. 6181.

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Session 4: Visionary FilmThe Emergence of Lyrical Film (1940s and 1950s)

Screenings:
Meshes OF the Afternoon (Maya Daren, 1943, 14 min.), At Land (Deren, 1944, 15 min.),
A Study in Choreography for Camera (Deren, 1945, 4 min,), Ritual in Transfigured Time
(Deren, 1945-6, 15 min.), Wedlock House: An Intercourse (Stan Brakhage, 1959, 11
min,), Window Water Baby Moving (Brakhage, 1959, 12 min.), Dog Star Man: Prelude
(Brakhage, 1961, 25 min.)

Required Readings:
Sitney, The Lyrical Film, VF, pp. 155-188.

Stan Brakhage, Selections from Metaphors on Vision, Brakhage and Bruce R.

McPherson, Essential Brakhage: Selected Writings on Filmmaking (Kingston, NY:
Documentext, 2001), pp. 11-72.

Maya Deren, An Anagram of Ideas on Art, Form, and Film, Maya Deren and the
American Avant-Garde, ed. Bill Nichols (Berkeley, CA: University of California
Press, 2001), pp. 267-322.

Recommended Readings:
R. Bruce Elder, Brakhage: Poiesis, Stan Brakhage: Filmmaker, ed. David E. James
(Philadelphia, PA: Temple University Press, 2005), pp. 88-106.

Renata Jackson, The Modernist Poetics of Maya Deren, Maya Deren and the American
Avant-Garde, pp. 47-76.

P. Adams Sitney, Interview with Stan Brakhage, FCR, p. 201-229.

Session 5: Anti-Film/Underground Film/New Film Culture (1960s)

Screenings:
Mothlight (Brakhage, 1963, 3 min.), Kustom Kar Kommandos (Kenneth Anger, 1965, 4
min.), Blonde Cobra (Ken Jacobs, 1963, excerpt), Fuses (Carolee Schneeman, 1964-68,
22 min.), Kiss (Andy Warhol, 1963-64, excerpt), Empire (Warhol, 1964, excerpt)
Excerpts from Fluxfilm Anthology (Zen for Film (Nam June Paik, 1962-64), Invocations
of Canyons and Boulders (Dick Higgins, 1966), 1000 Frames (George Maciunas, 1966),
Eye Blink (Yoko Ono, 1966), Sun in Your Head (Television Decollage) (Wolf Vostell,
1963), Sears Catalogue 1-3 (Paul Sharits, 1965))

Required Readings:
Bruce Jenkins, Fluxfilms in Three False Starts,AM, pp. 53-71.

Jonas Mekas, A Call for a New Generation of Film-makers, Notes on the New
American Cinema, FCR, pp. 73-75, 87-107.

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Annette Michelson, Film and the Radical Aspiration, FCR, pp. 404-421.

Recommended Readings:
Hanna Higgins, Charting Fluxus: Picturing History, Fluxus Experience (Berkeley, CA:
University of California Press, 2002), pp. 69-100.

Paul Arthur, Routines of Emancipation: Jonas Mekas and Alternative Cinema in the
Ideology and Politics of the Sixties, A Line of Sight: American Avant-garde Film
since 1965 (Minneapolis: University of Minnesota Press, 2005), pp. 1-23.

Wayne Koestenbaum, Screens, Andy Warhol, (New York: Viking, 2001) pp. 55-89.

Session 6: Between the White Cube and the Black Box, Beyond the Film: Expanded
Cinema (1960s and 1970s)

Screenings:
Prune Flat (Robert Whitman, 1965, excerpt), Inner and Outer Space (Warhol, 1966,
excerpt), Exploding Plastic Inevitable (Andy Warhol and Ronald Nameth, 1967, 22 min.),
Allures (Jordan Belson, 1961, 8 min.), Re-entry (Jordan Belson, 1964, 7 min.) Offon
(Scott Bartlett, 1966, 10 min.), Permutations (John Whitney, 1968, 8 min.), Poemfield No.
2 (Stan VanDerBeek, 1966, 6 min.), Symmetricks (Stan VanDerBeek, 1972, 6 min.),
Pixillation (Lillian Schwartz, 1970, 4 min.)

Required Readings:
Liz Kotz, Disciplining Expanded Cinema, X-Screen: Film Installations and Actions in
the 1960s and 1970s, ed. Matthias Michalka (Cologne: Walther Knig, 2004), pp.
44-57.

Gene Youngblood, Cybernetic Cinema and Computer Films, Expanded Cinema (New
York: E. P. Dutton, 1970), pp. 179-256.

Beatriz Colomina, Enclosed by Images: The Eameses Multimedia Architecture, AM,

pp. 75-91.

Recommended Readings:
Branden W. Joseph, My Mind Split Open: Andy Warhols Exploding Plastic
Inevitable, AM, pp. 92-111.

Stan VanDerBeek, Culture: Intercom and Expanded Cinema: A Proposal and

Manifesto, AM, pp. 72-74.

Chrissie Iles, Between Still and Moving Image, Into the Light: The Projected Image in
American Art 1964-1977, ed. Chrissie Iles (New York: Whitney Museum of
American Art, 2001), pp. 32-69.

Session 7: Structural Film and Minimalist Tendencies (1960s and 1970s)

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Screenings:
The Flicker (Tony Conrad, 1966, 30 min.), Wavelength (Michael Snow, 1967, 43 min.),
Hapax Legomena I: Nostalgia (Hollis Frampton, 1971, 36 min.), Serene Velocity (Ernie
Gehr, 1969, 23 min.)

Required Readings:
Sitney, Structural Films, VF, pp. 347-370.

Annette Michelson, Toward Snow, The Avant-garde Film, pp. 172-183.

Michael Fried, Art and Objecthood, Minimal Art: A Critical Anthology, ed. Gregory
Battock (Berkeley, CA: University of California Press, 1995), pp. 116-147.

Recommended Readings:
Peter Wollen, The Two Avant-gardes, AM, pp. 172-181.

Benjamin H. D. Buchloh, Neo-Avantgarde and Culture Industry: Essays on European

and American Art from 1955 to 1975 (Cambridge, MA: MIT Press, 2001), pp. 405-
428.

Peter Gidal, Theory and Definition of Structural/Materialist Film, Structural Film

Anthology, ed. Peter Gidal (London: BFI Publishing, 1976), pp. 1-21.

Session 8: Beyond the Material: Sharits, Jacobs, and McCall (1960s and 1970s)
* Mid-Term Exam

Screenings:
Razor Blades (Paul Sharits, 1965-68, 25min.), T:O:U:C:H:I:N:G (Paul Sharits, 1968, 12
min.), Line Describing a Cone (Anthony McCall, 1973, documentation), Long Film for
Four Projectors (1974, documentation), Tom, Tom, and the Pipers Son (Ken Jacobs,
1969, excerpt), Celestial Subway Lines/Salvaging Noise (Ken Jacobs with John Zohn,
2005, excerpt)

Required Readings:
Jonathan Walley, The Material of Film and the Idea of Cinema: Contrasting Practices in
Sixties and Seventies Avant-garde Film, October, Vol. 103 (Winter 2003), pp. 15-
30.

Federico Windhausen, Paul Sharits and the Active Spectator, AM, pp. 122-139.

Anthony McCall, Line Describing a Cone and Related Films, October, Vol. 103
(Winter 2003), pp. 42-62.

Recommended Readings:
Paul Sharits, Hearing: Seeing, From Words Per Page, The Avant-Garde Film, pp.
255-263.

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Ken Jacobs, Painted Air: The Joys and Sorrows of Evanescent Cinema, Millennium
Film Journal, Nos. 43/44 (Summer 2005), pp. 37-62.

George Baker, Film beyond Its Limits, Grey Room, No. 25 (Fall 2006), pp. 92-125.

Session 9: Escaping the Limits of Art via Moving images: Conceptual Art, Site-Specific
Art, and Performances (1960s and 1970s)

Screenings:
Hand Catching Lead (Richard Serra, 1968, 3 min.), Pinch Neck (Bruce Nauman, 1967, 2
min.), Cutting (VALIE EXPORT, 1967, 2 min.), Touch Cinema (VALIE EXPORT, 1968,
2 min.), Walking in an Exaggerated Manner Around the Perimeter of a Square (Bruce
Nauman, 1967-68, 11 min.), Exchange (Robert Morris with Lynda Bengalis, 1973,
excerpt), Television Delivers People (Richard Serra, 1973, 6 min.), Spiral Jetty (Robert
Smithson, 1970, 32 min.), Conical Intersect (Gordon Matta-Clark, 1975, 20 min.),
Imponderabilia (Marina Abramovic and Ulay, 1977, 10 min.)

Required Readings:
Lucy Lippard, Escape Attempts, Six Years: The Dematerialization of the Art Object
1966-1972, ed. Lucy Lippard (Berkeley, CA: University of California Press, 1997),
vii-xxii.

Pamela M. Lee, Bare Lives, AM, pp. 140-158.

Robert Smithson, A Cinematic Atopia, Spiral Jetty, and Art through the Cameras
Eye, Robert Smithson: The Collected Writings, ed. Jack Flam (Berkeley, CA:
University of California Press, 1996), pp. 138-142, 143-152, 371-375.

Recommended Readings:
Rosalind E. Krauss, Sculpture in the Expanded Field, October, Vol. 8 (Spring 1979),
pp. 30-44.

Amelia Jones, From Body Art/Performing the Subject, Art of the Twentieth Century: A
Reader, pp. 261-274.

Andrew Uroskie, La Jete en Spirale: Robert Smithsons Stratigraphic Cinema, Grey

Room, No. 19 (Spring 2005), pp. 54-79.

Session 10:Between Medium Specificity and Heterogeneity: Early Video Art (1960s and
1970s)

Screenings:
Participation (Steina and Woody Vasulka, 1969-71, excerpt), Double Vision (Peter
Campus, 1971, 12 min.), Pryings (Vito Acconti, 1971, 21 min.), Undertone (Vito Acconti,

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

1972, 9 min.), Vertical Roll (Joan Jonas, 1972, 20 min.), Boomerang (Richard Serra with
Nancy Holt, 1974, 10 min.), Performer/Audience/Mirror (Dan Graham, 1975, 23 min.)

Required Readings:
Rosalind E. Krauss, Video: The Aesthetics of Narcissism, AM, pp. 208-219.

William Kaizen, Live on Tape: Video, Liveness and the Immediate, AM, pp. 258-272.

Marita Sturken, Paradox in the Evolution of an Art Form: Great Expectations and the
Making of a History, Illuminating Video: An Essential Guide to Video Art, eds.
Doug Hall and Sally Jo Fifer (New York: Aperture, 1990), pp. 101-23.

Recommended Readings:
Kate Mondloch, Be Here (and There) Now: The Spatial Dynamics of Screen-reliant
Installations, Art Journal, Vol. 66, No. 3 (Fall 2007), pp. 21-33.

Antin, David, Video: The Distinctive Features of the Medium, Video Culture: A
Critical Investigation, ed. John G. Hanhardt (Rochester, NY: Visual Studies
Workshop Press, 1986), pp. 147-66.

Dan Graham, Essay on Video, Architecture, and Television, Two-way Mirror Power:
Selected Writings by Dan Graham on His Art, ed. Alexander Alberro (Cambridge,
MA: MIT Press, 1999), pp. 52-61.

Session 11: Under the Media Culture: Found Footage, Readymade, Appropriation (Since
the 1950s)

Screenings:
A Movie (Bruce Conner, 1958, 12 min.), Technology/Transformation: Wonder Woman
(Dara Birnbaum, 1978, 5 min.), Tribulation 99 (Craig Baldwin, 1991, excerpt), Alone:
Life Wastes Andy Hardy (Martin Arnold, 1998, 15 min.), Kristall (Christoph Girardet and
Matthias Mller, 2006, 14 min.), Dial H-I-S-T-O-R-Y (Johan Grimonprez, 1997, 67 min.)

Required Readings:
Guy Debord and Gil J. Wolman, Directions for the Use of Dtournement, Marcel
Duchamp, Apropos of Readymades, Appropriation, ed. David Evans
(Cambridge, MA: MIT Press, 2009), 35-40.

Catherine Russell, Archival Apocalypse: Found Footage as Ethnography, Experimental

Ethnography: The Work of Film in the Age of Video (Durham: Duke University
Press, 1999), pp. 238-74.

William C. Wees, In the Domain of Montage: Compilation, Collage, Appropriation,

Recycled Images: The Art and Politics of Found Footage Films (New York:
Anthology Film Archives, 1993), pp. 32-58.

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Recommended Readings:
Douglas Crimp, Appropriating Appropriation, On the Museums Ruins (Cambridge,
MA: MIT Press, 1993), pp. 126-137.

Nicolas Bourriaud, Deejaying and Contemporary Art, Postproduction/Culture as

Screenplay: How Art Reprograms the World, trans. Jeanine Herman (New York:
Lukas & Sternberg, 2002), pp. 39-45.

Susanne stby Sther, Between the Hyperrepresentational and the Real: A Sampling
Sensibility, The State of the Real: Aesthetics in the Digital Age, eds. Damian
Sutton, Susan Brind, and Raymond McKenzie (New York and London: I. B. Tauris,
2007), pp. 48-61.

Session 12: Into the GalleryThe Emergence of the Art of the Moving Image in
Contemporary Art (Since the 1990s)

Screenings:
The Third Memory (Pierre Huyghe, 2000, 10 min.), Streamside Day (Pierre Huyghe,
2003, 26 min.), 24 Hour Psycho (Douglas Gordon, 1993, Documentation), Zidane: A 21st
Century Portrait (Douglas Gordon and Philippe Parreno, 2006, excerpt), A Lapse of
Memory (Fiona Tan, 2007, 26 min.), Pie (Tacita Dean, 2003, 6 min.), Palast (Tacita
Dean, 2004, 10 min.), Pine Flat (Sharon Lockhart, 2005, excerpt)

Required Readings:
Liz Kotz, Video Projection: The Space Between Screens, AM, pp. 371-385.

Michael Newman, Moving Image in the Gallery Since the 1990s, Film and Video Art,
ed. Stuart Corner (London: Tate Publishing, 2009), pp. 86-121.

Giuliana Bruno, Collection and Recollection: On Film Itineraries and Museum Walks,
Public Intimacy: Architecture and the Visual Arts (Cambridge, MA: MIT Press,
2007), pp. 3-42.

Recommended Readings:
George Baker, An Interview with Pierre Huyghe, October, Vol. 110 (Autumn 2004),
pp. 80-106.

Mark Nash, Art and Cinema: Some Critical Reflections, AM, pp. 444-459.

Malcolm Turvey, Chrissie Iles et al., Round Table: The Projected Image in
Contemporary Art, October, Vol. 104 (Spring 2003), pp. 71-96.

Session 13: The Places of Todays Artists CinemaThe Return of Site-Specificity and
New Narrative Space (Since the 1990s)

Screenings:

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Third Party (Sam Taylor-Wood, 10 min.), Der Sandmann (Stan Douglas, 1995, 10 min.),
Inconsolable Memories (Stan Douglas, 2005, documentation), Sleepwalkers (Doug
Aitken, 2007, documentation), Today (Eija-Liisa Ahtila, 1996, 10 min.), Consolation
Service (Eija-Liisa Ahtila, 1999, 23 min,), Dammi i Colori (Anri Sala, 2003, 15 min.),
Parc Central Taipei (Dominique Gonzalez-Foerster, 2000, 10 min.), Otjesd/Leaving
(Clemens von Wedemeyer, 2005, 15 min.)

Required Readings:
Gregor Stemmrich, White Cube, Black Box, and Grey Areas: Venues and Values, AM,
pp. 430-443.

Raymond Bellour, Of An Other Cinema, AM, pp. 406-422.

Catherine Fowler, Room for Experiment: Gallery Films and Vertical Time from Maya
Deren to Eija-Liisa Ahtila, Screen, Vol. 45, No. 4 (Winter 2004), pp. 324-343.

Recommended Readings:
Miwon Kwon, One Place after Another: Notes on Site Specificity, October, Vol. 80
(Spring 1997), pp. 85-110.

Daniel Birnbaum, Crystals, Time Difference, Chronology (New York: Lukas &
Sternberg, 2005), pp. 33-42, 57-70

Doug Aitken, Eija-Liisa Ahtila, Stan Douglas, Pierre Huyghe, Broken Screen: 26
Conversations with Doug Aitken, Expanding the Image, Breaking the Narrative, ed.
Noel Daniel (New York: Distributed Art Publishers, Inc., 2006), pp. 18-25, 102-109,
172-181.

Session 14: Going to the Digital?Digitally Expanded Cinema (Current)

Screenings:
Video Documentations of Digitally Expanded Cinema Projects by Jeffrey Shaw, Jill
Scott, Luc Courchesne, Michael Naimark, Maurice Benayoun, Lynn Hershmann Leeson,
ICinema Center for Interactive Cinema Interactivity
Razzle Dazzle: The Lost World (Ken Jacobs, 2006, 90 min.)

Required Readings:
Peter Weibel, Expanded Cinema, Video, and Virtual Environments, Future Cinema:
The Cinematic Imaginary After Film, eds. Jeffrey Shaw and Peter Weibel
(Cambridge, MA: MIT Press, 2003), pp. 110-125.

Christian Paul, Expanding Cinema: The Moving Image in Digital Art, Film and Video
Art, pp. 132-143.

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Oliver Grau, Intermedia Stages of Virtual Reality in the Twentieth Century, Virtual
Art: From Illusion to Immersion, trans. Gloria Custance (Cambridge, MA: MIT
Press, 2003), pp. 140-190.

Recommended Readings:
Malcolm Le Grice, Art in the Land of Hydra-Media, Digital Cinema and
Experimental Film Continuities and Discontinuities, Experimental Cinema in the
Digital Age (London: BFI Publishing, 2001), pp. 297-320.

Lev Manovich, Understanding Hybrid Media, Animated Painting, exhibition catalogue,

curated by Betti-Sue Hertz (San Diego, CA: San Diego Museum of Art, 2009), pp.
36-45.

Raymond Bellour, The Battle of the Image, Future Cinema, pp. 56-59.

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Additional Bibliography
Alberro, Alexander and Blake Stimson (eds.) Conceptual Art: A Critical Anthology
(Cambridge, MA: MIT Press, 2000).

Bishop, Claire, Installation Art (London: Tate Publishing, 2005).

Bois, Yves-Alain, Benjamin H. D. Buchloh, Hal Foster, and Rosalind E. Krauss, Art
After 1900: Modernism, Antimodernism, Postmodernism, two volumes (New York
and London: Thames and Hudson, 2005).

Bourriaud, Nicolas, Relational Aesthetics (Paris: Les Presse du Rel, 1998).

Brougher, Kerry (ed.) The Cinema Effect, exhibition catalogue (Washington D. C:

Hirshhorn Museum, 2008).

Brougher, Kerry et al. Art and Film Since 1945: Hall of Mirrors, exhibition catalogue
(Los Angeles, CA: Museum of Contemporary Art, 1996).

Campany, David (ed.) The Cinematic (Cambridge, MA: MIT Press, 2007).

Christie, Ian and Philip Dodd (eds.) Spellbound: Art and Film (London: BFI Publishing,
1996).

Connolly, Maeve, The Place of Artists Cinema: Space, Site, and Screen (London:
Intellect, 2009).

Douglas, Stan and Christopher Eamon (eds.) Art of Projection (Ostfindern, Germany:
Hatje Cantz, 2009).

Elwes, Catherine, Video Art: A Guided Tour (New York: I. B. Tauris, 2005).

Foster, Hal, The Return of the Real: Art and Theory at the End of the Century
(Cambridge, MA: MIT Press, 1996).

Foster, Gwendolyn Audrey and Wheeler Winston-Dixon (eds.), Experimental Cinema:

The Film Reader (New York and London: Routledge, 2002).

Graf, Alexander and Dietrich Scheunemann (eds.) Avant-garde Film (Amsterdam:

Editions Rodopi, 2007).

Groys, Boris, Art Power (Cambridge, MA: MIT Press, 2008).

Harrison, Charles, and Paul J. Wood (eds.), Art in Theory, 1900-2000: An Anthology of
Changing Ideas, second edition (Maiden, MA and Oxford, UK: Wiley-Blackwell,
2003).

Hatfield, Jackie, and Stephen Littman (eds.) Experimental Film and Video: An Anthology
(Eastleigh, UK: John Libbey Publishing, 2006).

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Course Proposal/The Art of the Moving Image Ji Hoon Kim

Kaye, Nick, Multi-media: Video Installation Performance (New York and London:
Routledge, 2007).

Kotz, Liz, Words to be Looked at: Language in 1960s Art (Cambridge, MA: MIT Press,
2007).

Lee, Pamela M. Chronophobia: On Time in the Art of the 1960s (Cambridge, MA: MIT
Press, 2006).

Leung, Simon and Zoya Kocur (eds.), Theory in Contemporary Art since 1985 (Maiden,
MA and Oxford, UK: Wiley-Blackwell, 2004).

Macdonald, Scott, A Critical Cinema 5: Interviews with Independent Filmmakers

(Berkeley, CA: University of California Press, 2006).

______________, A Critical Cinema 4: Interviews with Independent Filmmakers

(Berkeley, CA: University of California Press, 2005).

______________, A Critical Cinema 4: Interviews with Independent Filmmakers

(Berkeley, CA: University of California Press, 1998).

______________, Avant-garde Film: Motion Studies (New York: Cambridge University

Press, 1993).

Marchessault, Janine and Susan Lord (eds.) Fluid Screen, Expanded Cinema (Toronto:
University of Toronto Press, 2007).

Meyer, James, Minimalism: Art and Politics in the 1960s (New Haven, CT: Yale
University Press, 2004).

OPray, Michael, Avant-garde Film: Forms, Themes and Passions (London: Wallflower
Press, 2003).

Schneider, Ira and Beryl Korot (eds.) Video Art: An Anthology (New York: Harcourt
Brace Jovanovich, Inc., 1976).

Shanken, Edward A. Art and Electronic Media (London: Paidon Press, 2009).

Stiles, Kristine and Peter Selz (eds.) Theories and Documents of Contemporary Art: A
Sourcebook of Artists Writings (Berkeley, CA: University of California Press,
1996).

Yeo, Rob, et al. Cut: Film as Found Object in Contemporary Video, exhibition catalogue
(Milwaukee, WI: Milwaukee Art Museum, 2006).

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