The Process Cinema Artisan: Comparative Materialities in Celluloid and Digital Filmmaking.
Experimental cinema has long engaged with handmade techniques, but within the past ten or fifteen years there has been a surge of interest in small-gauge cinema as a craft practice. Often referred to as "process cinema" because the experimental process of creation is prioritized over a particular en...
| Publicado en: | Afterimage Vol. 53; no. 1; pp. 79 - 98 |
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| Formato: | Artículo |
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University of California Press
Mar2026
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=192351644&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 192351644 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03007472 ATF jtl: Afterimage issn: 03007472 maglogo: N pubinfo: dt: Mar2026 vid: 53 iid: 1 pid: 414 pub: University of California Press artinfo: ui: 192351644 10.1525/aft.2026.53.1.79 ppf: 79 ppct: 19 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.7MB tig: atl: The Process Cinema Artisan: Comparative Materialities in Celluloid and Digital Filmmaking. aug: au: Ivins, Laura su: Experimental films Materiality & art Discourse analysis Materialism Filmmaking Digital cinematography sug: subj: Experimental films Materiality & art Discourse analysis Materialism Filmmaking Digital cinematography keyword: celluloid film digital media Esther Urlus experimental film Jacques Perconte materiality process cinema ab: Experimental cinema has long engaged with handmade techniques, but within the past ten or fifteen years there has been a surge of interest in small-gauge cinema as a craft practice. Often referred to as "process cinema" because the experimental process of creation is prioritized over a particular end result, the artists and scholars in this community consider such work in both political and aesthetic terms, often invoking the term "artisan" to contrast their artistic practice with commercial, digital cinema. In this article, I examine the discourses of artisanship and materiality within process cinema discourse, comparing celluloid-based and digital glitch art practices and arguing against the perceived "immateriality" of digital media. The discursive juxtaposition between photochemical film and what I term "photoelectrical film" that persists in a range of artist interviews and critical scholarship elides the potential for digital process cinema to engage in the same ideological critique as their celluloid film colleagues. Yet, both sets of artists find ways to critique industrial mass production and extractive capitalism through experimentations with the physical materiality of their respective media formats. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Afterimage is the property of University of California Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Afterimage holder: University of California Press dt: @attributes: year: 2026 holdings: @attributes: islocal: N |
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