Film and video create an illusory world, a reality elsewhere, and a material presence that both dramatizes and demystifies the magic trick of moving pictures. Beginning in the 1960s, artists have explored filmic and televisual phenomena in the controlled environments of galleries and museums, drawing on multiple antecedents in cinema, television, and the visual arts. This volume traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960s, 1970s, and 1980s.

Film festivals have had varied and complex histories starting with Benito Mussolini's invention of the form in Venice in 1932. Since then (and too often) festivals are thought of in terms of Hollywood's film industry. This text is a celebration of all things un-dependently cinematic. The essays contained in this volume explore the cultural value of alternative film festivals from a wide range of perspectives and experiences. 

Reference work devoted to the avant-garde filmmaker, emblematic figure of the British experimental cinema, with twenty texts by Malcolm Le Grice and new essays by Yann Beauvais and Philippe Langlois on his film and its relationship with art and music.

Published following the eponymous exhibition at the Espace multimédia Gantner, Bourogne in 2011-2012

This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking. It acts as a form of reclamation by integrating films having received inadequate historical and critical recognition and placing these alongside films existing as accepted texts of the decade. This history challenges the problematic 'return to image' thesis, providing examples of written evidence and demonstrating how this has problematically perpetuated a flawed account of the decade. This is the first extensive overview of 1970s filmmaking, contextualizing films within broader aesthetic, theoretical and socio-political frameworks. The detailed textual and comparative analyses offer unique approaches to individual films, shedding light on technical, aesthetic and economic decisions informing filmmaking. As such, it provides a unique understanding of how experimental filmmaking grew from a small handful of films and filmmakers, at the start of the 1970s, to a veritable 'explosion' in filmmaking by the end of the decade.