Expanded Cinema 1960 s Now Expanded Cinema Then

Expanded Cinema - Then Coined in the mid-1960 s by US filmmaker Stan Van.

Stan Vanderbeek’s Movie Drome (1963 – 1964)

It is imperative that we [the world’s artists] invent a new world language, that

Andy Warhol’s Exploding Plastic Inevitable (1966 -67)

E. A. T. - Experiments in Art + Technology Founded in 1967

Charles and Ray Eames IBM Pavilion 1964 NY World’s Fair

“As the collage technique replaced oil paint, the cathode ray tube will replace the

The Medium is the Massage, Marshall Mc. Luhan 1967

Anthony Mc. Call Line Describing a Cone (1973)

Andy Warhol Inner and Outer Space (1965)

Janet Cardif and Georges Bures Miller, Alterbhanof, 2012

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Expanded Cinema – 1960 s

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Expanded Cinema - Then Coined in the mid-1960 s by US filmmaker Stan Van. Der. Beek, but with its origins in the experiments of early twentieth century avantgarde film and performance art, ‘Expanded Cinema’ refers to film and video works that expand the traditional one-way relationship between audience and screen to incorporate the context they’re being watched in. In 1970, Gene Youngblood published a book on Expanded Cinema articulating the principles and possibilities of new media practices in the same terms: “A new expanded cinema is required for a new consciousness. ”

Stan Vanderbeek’s Movie Drome (1963 – 1964)

It is imperative that we [the world’s artists] invent a new world language, that we invent a non-verbal international picture-language. I propose the following: • The establishement of audio-visual research centers, preferably on an international scale. Thes centers to explore the existing audio-visual hardware. The development of new image-making devices (the storage and transfer of image materials, motion pictures, television, computers, videotape, etc. ) • The immediate research and development of image-events and performances in the Movie-Drom. I shall call these prototype presentations: Movie Murals, Ethos-Cinema, Newsreel of Dreams, Feedback, Image Libraries. • When I talk of the movie-dromes as image libraries, it is understood that such life-theatres would use some of the coming techniques. . . and thus be real communication and storage centers, that is, by satellite, each dome could receive its image from a world wide library source, store them and program a feedback presentation to the local community that lived near the cneter, thsi newsreel feedback, could authentically review the total world image ‹reality› in an hour-long show. • Intra-communitronics, or dialogues with other centers would be likely, and instand reference material via transmission television and telephone would be called for and received at 186, 000 m. p. s. , from anywhere in the world. Thus I call this presentation, a newsreel of ideas, of dreams, a movie-mural. An image library, a culture de-compression chamber, a culture inter-com. Excerpt from Stan Van. Der. Beek, «Culture Intercom, A Proposal and Manifesto» , Film Culture 40, 1966, pp. 15– 18, reprinted in Gregory Battcock, The New American Cinema. A Critical Anthology, New York, 1967, pp. 173– 1

Andy Warhol’s Exploding Plastic Inevitable (1966 -67)

E. A. T. - Experiments in Art + Technology Founded in 1967