PANORAMAS / DIORAMAS / EARLY ‘TIME MACHINE’ ‘CINEMA OF AttRACTIONS’ EARLY OptICAL DEVICES / PRE-SOUND, ‘CINE-LECTURES’ IMMERSIVE ENVIRONMENTS H.G. Wells & Robert Paul’s patent application for Early cinema was a live and unpredictable event MAGIC LANTERNS / SLIDE SHOWS / Tradition of the ‘barker’ who would narrate over the top of silent films — often control of the These date back to the 18th c. and include new a ‘Time Machine ‘A largely imaginary moment but — combining performance, projection and PHANTASMAGORIA one that combines, however hypothetically, the exhibition — includes events at the Paris ‘narrative’ belonged to the exhibitor rather than ‘architectures of seeing’ such as Robert Barker’s Extremely popular forms of pre-cinema that use of multiple projections and simulated move- Biorama ; Lumière’s touring programmes or the filmmaker or distributor. Panorama Rotunda at Leicester Square that combine illusion with analysis. What Werner ment (1895) — an early incantation of ‘virtual ‘Vues’ ; early Twentieth Century institutions of opened in May 1793 Nekes calls ‘Media Magica’ reality’? mass culture : Café-concerts, music halls, vaudeville, fairground theatres and temporary sites of exhibition. An important moment in MARCEL DUCHAMP’S PRECISION the history of what Jeffrey Shaw calls, ‘specta- tor-spectacle relations’. OptICS (1920) PARIS ExpOSITION 1900 Along with his Anaemic Cinema and Man Ray’s Rayographs (photographic images made without National exhibitions have showcased many of HALES TOURS PRE — 1910 use of a camera) Duchamp’s kinetic sculptures the technological innovations associated with anticipate what Ken Jacobs will call ‘para-cinema’ Part of the trend for travel films in the early expanded cinema. Here multiple projectors are SURREALISM — a form of cinema made without use of the Twentieth Century, ‘Scenes from around the used panoramically to simulate hot-air balloon DADA PERFORMANCE traditional media of cinema. World’ were projected onto the ‘window’ of a flights In Las Hurdes (Land Without Bread) made in 1932 mock-up railway carriage that jolted and Famously, René Clair produced his film Entr’acte when sound recording was available to filmmak- bumped as ‘passengers’ travelled the world (Interval) (1924) to be screened during the break ers, Buñuel delivered a live voiceover at early without leaving Manchester between the two acts of Picabia’s Ballet Relâche. screenings in order to create a disjunction not The film is in many ways site-specific and draws only between sound and image but between the LEttRISTES AND BAUHAUS on early cinema ‘programming’ in order to dis- filmic record and the way in which it is consumed. SITUATIONIST Theo Van Doesburg’s ‘dynamic light architecture’ rupt the ‘reality’ of the live event. creates an agitated space of moving screens CINEMA in which ‘the spectator space will become part Maurice Lemaître and of the film space. [And] the separation of the Isadore Isou created their ‘projection surface’ is abolished.’ Moholy-Nagy’s AbEL GANCE’S NAPOLEON (1927) own brand of cinema that Polykino is also an important piece of light- The film’s three-screen climax suggests a cross- emphasised the unpredict- sculpture that, as with later expanded works, ACTION PAINT- over between avant-garde expanded cinema able and antagonistic in examines the primary materials of cinema : light, ING / AbSTRACT and developments in cinema technologies more film events using disas- movement and time broadly. ExpANDED sembled narratives, films ExpRESSIONISM MACHINES without images and live Malcolm Le Grice and confrontation. other experimental film- After experimenting with shadow and light in work makers that employ vis- COMPUTER ARTS GERMAN THEATRE ceral devices associated such as, Point Source Along with Brecht’s alienation effects and Epic with expanded cinema In the 1940s John and James Whitney were early (1973), Tony Hill went on to Theatre, Walter Gropius & Erwin Piscator’s take their cue as much adopters of computers as a means of making create specially mounted StREET ACTIONS notion of ‘Total Theatre’ — which combines film from post-war concerns film-forms ; the Californian brothers claim to cameras to create films / PROJECTIONS in which ‘the camera is projections with live theatre anticipate some of in painting (and music) as inherit the ‘machine as art’ from Duchamp and Practitioners such as Wolf fixed relative to its mov- expanded cinema’s focus on mediated enactment. they do from cinema Mondrian. Vostell, Werner Nekes, ing subject, resulting in Robert Whitman and Ken a reversal of the usual MOSCOW WORLD’S BRUSSELS WORLD’S FAIR (1958) Dewey all took the pro- relationship between fixed jected image to the street FAIR (1959) Expo that witnessed combining of events such as and moving elements in as a means of activating Site for the unveiling of the Philips sponsored Corbusier Pavilion, Poem a scene’ (Nicky Hamlyn). BEttER BOOKS environments beyond the Charles and Ray Eames’ Electronique the Czechoslovak Laterna Magica StAN VANDER- KEN JACOBS See also : Robert Breer’s Kenneth Anger’s Inauguration of the Pleasure LONDON cinema. iconic multi-screen BEEK’S MOVIE Creator of important Mutoscopes (1964) ; Steve Dome 3-Screen version, Abel Gance & Nelly extravaganza : Glimpses The basement of Bob ‘para-cinema’ works such Farrer, The Machine Kaplan showing an updated version of Napoleon DROME 1966 of the USA GUTAI GROUP Cobbing’s Charing Cross as Nervous System (1975) (1988) ; Tim MacMillan’s and Magirama (1956) In a dome-shaped con- (JAPAN) 3D Rd. bookshop hosted a and Apparition Theatre ‘hoop camera’ UK (1982) number of early expanded verted grain silo in upstate WIDESCREEN Influential actionists from (1974) cinema events such as the New York ‘simultaneous the 1950s. Destruction in Art Sympo- images of all sorts would sium (1966) and showed be projected on the TECHNICOLOR work by artists such as entire dome-screen… the E.A.T (ExpERIMENTS IN ART Jeff Keen, Kenneth Anger, audience lies down at the JOHN CAGE AND TECHNOLOGY) outer edge of the dome NEW YORK Yoko Ono and An important influence on Crossing the boundaries of engineering, art, with their feet towards the Jeffrey Shaw. artists making expanded cinema and performance, practitioners such as WORLD’S FAIR centre, thus almost the cinema such as William Robert Rauschenberg, Robert Whitman and Billy complete field of view is DOUBLE-SCREEN AND (1964 — 65) Raban and Paul Sharits Klüver joined forces to produce spectacular the dome-screen. Thou- MULTI-PROJECTION ExpERIMENTAL The infamous IBM Pavilion events such as Nine Evenings of Theatre and sands of images would be Arguably a cinematic language in itself — dou- DANCE / was created here to Engineering New York (1966) produce an ‘immersive LONDON FILM- projected on this screen… ble-screen films such as Warhol’s Chelsea Girls KINESTHETIC this image-flow [of] visual (1966) and Outer and Inner Space (1965) as well nedia environment’ where MAKERS’ COOP THEATRE spectators became part of material is to be presented as Malcolm Le Grice’s Castle Two (1968) pose the Hub for many influential and each individual makes HAppENINGS Associated with Black the machine and were “led audience with the dilemma of simultaneous read- experimental artists and his own conclusions… or VIENNESE ACTIONISTS Mountain College and through American history, Allen Kaprow / Robert ings. Multi-projection works such as Paul Sharits’ filmmakers from the mid realisations.’ (Vanderbeek, Many moments of crossover between live per- practitioners such as to the moon and the Milky Whitman / Ken Dewey Razor Blades (1965–68), William Raban’s Wave 1960s to the 1990s many ‘Cultural Intercom’) formance and the filmic (Kurt Kren / Otto Muehl) Merce Cunningham, Way with 135 screens Formations (1977) and Guy Sherwin’s Sound of whom employed tech- that influenced a generation of expanded cinema Yvonne Rainer and the that rose, slid and formed Cuts (2008) employ new forms of filmic rhythm in niques associated with artists including Valie EXPORT, Peter Weibel and Judson Church Dance tunnels.” order to expand the form and range of cinematic expanded cinema. later Paul McCarthy and Mike Kelley. experience. Theatre, the sense of the kinetic and the rhythms of the body influenced makers of expanded cinema such as Carolee FILMAKTION FILMAktION WALKER ART FLUXUS PERFORMANCE ART Schneemann. A loose group of filmmaker’s associated with GALLERY, LIVERPOOL 1973 Neo-dada movement that has among its member- With its emphasis on the the LFMC producing iconic pieces of expanded Following earlier events at Gallery House in ship many of the artists and filmmakers associ- body and a ‘politics of cinema such as, Horror Film 1 (1970) by Malcolm London (one of the few galleries supportive of ated with expanded cinema. Including Nam June experience’ expanded Le Grice, 2’45’’ (1973) by William Raban, Aperture film and video artists) this was an important Paik, George Maciunas and Jonas Mekas and cinema is closely linked to CLAUS OLDEN- FLICKER FILMS Sweep (1973) by Gill Eatherley and Reel Time event in the history of UK Expanded Cinema Paul Sharits. Particularly influential in its move- the traditions of perform- BURG’S MOVIE- Films by Tony Conrad (The Flicker, 1966), Peter (1973) by Annabel Nicolson focusing on the enlivened interest in the ‘real ment away from objecthood toward the ephemera ance art — but its use HOUSE (1965) Kubelka (Arnulf Rainer, 1960) and Paul Sharits time/space’ of film projection. of performance and gesture. of film and other media (among others) expand