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Faculty of Modern and Medieval Languages and Linguistics


FSS Moving Image: Moving Image Outside the Cinema

FSS Moving Image: Moving Image Outside the Cinema

Course Convenor: Prof Emma Wilson (, Section of French and Centre for Film & Screen Studies

Overview: This module explores moving image practice outside the movie theatre, looking in particular at the moving image works in gallery settings, at forms of expanded cinema, at site-specific works and at performances. It responds to questions about cinema post the digital turn looking at experimentation with installation, with projection, with temporality, with sound, with spectatorship, with movement, seeking to open new post-cinematic spaces of engagement. The module will offer an international perspective, but with some emphasis on gallery cinema and other projects in Europe, and on very recent works. Its bias will be theoretical, each session aiming to offer theoretical perspectives on the artworks discussed. The module will be team-taught by colleagues including the convenor.

Artworks and theories to be discussed may include Chris Marker’s La Jetée and installation work by Lina Selander, in a session on the relation between the intermedial and the museal in film; Rose Lowder's work, alongside some Deleuze and recent work by Nadia Bozak in a discussion of expanded cinema and ecologies; documentary practices in the gallery from the perspective of temporal experimentation, exploring artists Hito Steyerl, Walid Raad, Petra Bauer; Chantal Akerman's installations Marcher à côté de ses lacets dans un frigidaire vide and Maniac Shadows explored as records of personal experience that invite visitors to partake in a kind of 'internal cinema' as they move around the installation site; and in relation to ‘internal cinema’ and the exchange between sound and space; Bernard Stiegler’s account of the relation between cinema, consciousness and consumerism; questions about the home movie, intimacy, the slide-show and the gallery space, via Nan Goldin, Sophie Calle and Lauren Berlant; questions about movement – including camera movement – between gesture and dance in film with reference to Maya Deren and Babette Mangolte. Moving image artists who might also be considered include Harun Farocki, Tacita Dean, Agnès Varda, John Akomfrah, Steve McQueen, Kutlug Ataman and Grant Gee. 

Preliminary Reading:

  • Andrew V. Uroskie, Between the black box and the white cube: Expanded Cinema and Postwar art (University of Chicago Press, 2014)
  • Erika Balsom, Exhibiting Cinema in Contemporary Art (Amsterdam University Press, 2013)
  • D. N. Rodowick, The Virtual Life of Film (Harvard University Press, 2007)
  • Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (New York: Verso, 2002)
  • Jenny Chamarette, Phenomenology and the Future of Film: Rethinking Subjectivity beyond French Cinema (Palgrave Macmillan, 2012)


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