François Bovier

Adeena Mey

This volume, published in parallel to Exhibiting the Moving Image, extends the inquiry into the history, theory and practice of exhibiting artists' cinema, video, installation as well as advertising films, by focusing on the domains of performance and of

Cinema in the Expanded Field

Laurence Favre

It should also be stressed that we contest what we would like to call “flmocentrism" which is still prevalent in the studies of cxpanded cinema, even if efforts to locate "paracinematic" practices through the process of "re-mediating" cinema by "other mcans"° have recently been undertaken. To put it briefly, the dynamics of interme- dia are usually restricted if not repressed by disciplinary frames, while these performative practices actually aim at dissolving all boundarics; this is already observable through the semantic fields used, which reveal the use of medium- specific logic in a post-medium era. “Happening" is used to designate live arts in gallery spaces; "performance art" mostly refers to a theater context; "expanded cinema" is often equated with multi-screen installations in cinema, museum, or gallery situations.

frames, while these performative practices actually aim at dissolving all boundarics; this is already observable through the semantic fields used, which reveal the use of medium- specific logic in a post-medium era. “Happening" is used to designate live arts in gallery spaces; "performance art" mostly refers to a theater context; "expanded cinema" is often equated with multi-screen installations in cinema, museum, or gallery situations.

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