Nicky Hamlyn – författare

Alongside the commercial cinema of narrative and spectacle there has always been another practice - call it avant-garde, experimental or artists' film (as opposed to art cinema). It is this work that Nicky Hamlyn, himself an acclaimed film-maker in the alternative tradition, investigates in Film Art Phenomena. The work takes its cue from modern trends in other artforms, notably painting and sculpture. This is film-making that emphasises the nature of its apparatus and medium in order to bring about a critical, inquisitive state of mind in the viewer. It deconstructs, anatomises and reimagines what film images are; it builds new machines; it recreates the setting of cinema or expands into new kinds of performance and exhibition. It often has a political dimension - urging audiences to make a free and active response not a passive, consumerist one. Hamlyn's major new study treats artists' film conceptually in order to explore key categories that connect different works and film-makers: from framing to digital media, installation to interactivity, point of view to sound. In so doing he considers the work of Stan Brakhage, Malcolm Le Grice and Michael Snow, as well as younger artists such as Karen Mirza and Brad Butler, Jennifer Nightingale, and Colin Crockatt, among many others. Film Art Phenomena is a crucial intervention in debates about the modes of film-making that diverge from and oppose the mainstream.

Kurt Kren was a vital figure in Austrian avant-garde cinema of the postwar period. His structural films—often shot frame-by-frame following elaborately prescored charts and diagrams—have influenced filmmakers for decades, even as Kren himself remained a nomadic and obscure public figure. Kurt Kren, edited by Nicky Hamlyn, Simon Payne, and A. L. Rees, brings together interviews with Kren, film scores, and classic, out-of-print essays, alongside the reflections of contemporary academics and filmmakers, to add much-needed critical discussion of Kren’s legacy. Taken together, the collection challenges the canonical view of Kren that ignores his underground lineage and powerful, lyrical imagery.

Kurt Kren was a vital figure in Austrian avant-garde cinema of the postwar period. His structural films—often shot frame-by-frame following elaborately prescored charts and diagrams—have influenced filmmakers for decades, even as Kren himself remained a nomadic and obscure public figure. Kurt Kren, edited by Nicky Hamlyn, Simon Payne, and A. L. Rees, brings together interviews with Kren, film scores, and classic, out-of-print essays, alongside the reflections of contemporary academics and filmmakers, to add much-needed critical discussion of Kren’s legacy. Taken together, the collection challenges the canonical view of Kren that ignores his underground lineage and powerful, lyrical imagery.

Kurt Kren was a vital figure in Austrian avant-garde cinema of the postwar period. His structural films—often shot frame-by-frame following elaborately prescored charts and diagrams—have influenced filmmakers for decades, even as Kren himself remained a nomadic and obscure public figure. Kurt Kren, edited by Nicky Hamlyn, Simon Payne, and A. L. Rees, brings together interviews with Kren, film scores, and classic, out-of-print essays, alongside the reflections of contemporary academics and filmmakers, to add much-needed critical discussion of Kren’s legacy. Taken together, the collection challenges the canonical view of Kren that ignores his underground lineage and powerful, lyrical imagery.

Alongside the commercial cinema of narrative and spectacle there has always been another practice - call it avant-garde, experimental or artists'' film (as opposed to art cinema). It is this work that Nicky Hamlyn, himself an acclaimed film-maker in the alternative tradition, investigates in Film Art Phenomena. The work takes its cue from modern trends in other artforms, notably painting and sculpture. This is film-making that emphasises the nature of its apparatus and medium in order to bring about a critical, inquisitive state of mind in the viewer. It deconstructs, anatomises and reimagines what film images are; it builds new machines; it recreates the setting of cinema or expands into new kinds of performance and exhibition. It often has a political dimension - urging audiences to make a free and active response not a passive, consumerist one. Hamlyn''s major new study treats artists'' film conceptually in order to explore key categories that connect different works and film-makers: from framing to digital media, installation to interactivity, point of view to sound. In so doing he considers the work of Stan Brakhage, Malcolm Le Grice and Michael Snow, as well as younger artists such as Karen Mirza and Brad Butler, Jennifer Nightingale, and Colin Crockatt, among many others. Film Art Phenomena is a crucial intervention in debates about the modes of film-making that diverge from and oppose the mainstream.

Alongside the commercial cinema of narrative and spectacle there has always been another practice - call it avant-garde, experimental or artists'' film (as opposed to art cinema). It is this work that Nicky Hamlyn, himself an acclaimed film-maker in the alternative tradition, investigates in Film Art Phenomena. The work takes its cue from modern trends in other artforms, notably painting and sculpture. This is film-making that emphasises the nature of its apparatus and medium in order to bring about a critical, inquisitive state of mind in the viewer. It deconstructs, anatomises and reimagines what film images are; it builds new machines; it recreates the setting of cinema or expands into new kinds of performance and exhibition. It often has a political dimension - urging audiences to make a free and active response not a passive, consumerist one. Hamlyn''s major new study treats artists'' film conceptually in order to explore key categories that connect different works and film-makers: from framing to digital media, installation to interactivity, point of view to sound. In so doing he considers the work of Stan Brakhage, Malcolm Le Grice and Michael Snow, as well as younger artists such as Karen Mirza and Brad Butler, Jennifer Nightingale, and Colin Crockatt, among many others. Film Art Phenomena is a crucial intervention in debates about the modes of film-making that diverge from and oppose the mainstream.

This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s Experimental Animation: Origins of a New Art (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. With reference to historical, critical, phenomenological and inter-disciplinary approaches, international researchers offer new and diverse methodologies for thinking through these myriad animation practices. This volume addresses fundamental questions of form, such as drawing and the line, but also broadens out to encompass topics such as  the inter-medial, post-humanism, the real, fakeness and fabrication, causation, new forms of synthetic space, ecology, critical re-workings of cartoons, and process as narrative. This book will appeal to cross and inter-disciplinary researchers, animation practitioners, scholars, teachers and students from Fine Art, Film and Media Studies, Philosophy and Aesthetics.

This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s Experimental Animation: Origins of a New Art (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. With reference to historical, critical, phenomenological and inter-disciplinary approaches, international researchers offer new and diverse methodologies for thinking through these myriad animation practices. This volume addresses fundamental questions of form, such as drawing and the line, but also broadens out to encompass topics such as  the inter-medial, post-humanism, the real, fakeness and fabrication, causation, new forms of synthetic space, ecology, critical re-workings of cartoons, and process as narrative. This book will appeal to cross and inter-disciplinary researchers, animation practitioners, scholars, teachers and students from Fine Art, Film and Media Studies, Philosophy and Aesthetics.