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Conceptualism of Sculpture Films of the 1970s – 1980s in the Experimental Field of "Expanded Cinema"

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dc.contributor.author Anhelova, Anhelina
dc.contributor.author Ангелова, Ангеліна
dc.date.accessioned 2025-01-15T09:16:57Z
dc.date.available 2025-01-15T09:16:57Z
dc.date.issued 2024
dc.identifier.citation Anhelova A. Conceptualism of Sculpture Films of the 1970s – 1980s in the Experimental Field of "Expanded Cinema" / Anhelina Anhelova // Culture and Arts in the Modern World. - 2024. - Issue 25. - Р. 182 - 191. uk_UA
dc.identifier.issn 2616-423X
dc.identifier.uri http://ir.knutkt.edu.ua/handle/123456789/867
dc.description.abstract The aim of the article is to analyse conceptual foundations of sculpture films in the 1970s – 1980s in the context of experiments with “cinema expansion”. Results. Sculpture films of the 1970s – 1980s show signs of a tendency toward conceptualism inherent in postmodern art. In innovative experiments on the audiovisual art and sculpture synthesis, not only the updated artistic toolkit became basic, but the process of meaning creation with a mandatory appeal to the audience’s perception as well. All this was organically integrated into the general search of avant-garde directors, aimed at developing the technological and artistic possibilities of cinematography, which received a generalised name “expanded cinema” (G. Youngblood). W. Turnbull, A. Forbes, D. Ashton, R. Horn, V. Pye, G. Matta-Clark, L. Lijn, B. Flanagan, R. Smithson, G. Stevens, P. Dockley, D. Hall, D. Dye, E. McCall, L. Lye, J. Hilliard, T. Hill, and many others, can be considered the figures in this direction. Scientific novelty. For the first time, the conceptual foundations of sculpture films of the 1970s – 1980s are systematically analysed in the context of avant-garde searches by masters in creating interdisciplinary arts, and in extended cinema as well. Conclusions. The analysis of projects significant for sculpture cinema in the 1970s – 1980s reveals a few conceptual creative approaches: video documentation of the process of creating a sculpture, and presenting an audiovisual work as an independent art object; filming the transformation and destruction of sculpture works for the purpose of provocative statements on current topics; use of cinematographic equipment as a material for creating sculptures; expanded interpretation of the concept of “sculpture” as a form, the construction of which is not limited to solid materials or inanimate objects; fixation on film of kinetic sculptures, the contemplation of which is inseparable from the surrounding environment. A general conclusion is made that experiments with sculpture films contributed to the video art formation, and influenced the further development of media art. uk_UA
dc.language.iso en uk_UA
dc.subject media art uk_UA
dc.subject video art uk_UA
dc.subject conceptualism uk_UA
dc.subject expanded cinema uk_UA
dc.subject interdisciplinary arts uk_UA
dc.subject sculpture films uk_UA
dc.subject kinetic sculptures uk_UA
dc.subject land art uk_UA
dc.subject медіамистецтво uk_UA
dc.subject відеоарт uk_UA
dc.subject концептуалізм uk_UA
dc.subject розширене кіно uk_UA
dc.subject міжвидові мистецтва uk_UA
dc.subject скульптурні фільми uk_UA
dc.subject кінетичні скульптури uk_UA
dc.subject ленд-арт uk_UA
dc.title Conceptualism of Sculpture Films of the 1970s – 1980s in the Experimental Field of "Expanded Cinema" uk_UA
dc.title.alternative Концептуалізм скульптурних фільмів 1970 – 1980-х років в експериментальному полі «розширеного кіно» uk_UA
dc.type Article uk_UA
dc.identifier.udc 791.038.54"197/198"
dc.identifier.doi 10.31866/2410-1915.25.2024.312670


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