Efnisyfirlit

• Cover Page
• Title Page
• Acknowledgments
• Contents
• Introduction
• Artists
• Economics
• Part One
• 1.1: Artists
• The Film Society
• Little Magazines
• Internationalism and Festivals
• Schooling Artists
• The London Filmmakers Co-op
• Into the Gallery
• Video as Video
• The 1990s
• 1.2: Institutions
• Sponsored Films
• Museums and Collections
• Post-War Recovery
• Experimental Film Fund
• The Arts Council
• The BFI
• Funders and Broadcasters
• Part Two
• 2.1: Film and Fine Art
• The Camera
• Landscape
• Portrait
• Still Life
• Collage
• Pop Art
• Absurd
• Psychedelic
• Sculptors’ Films
• Abstraction
• Figurative Animation
• 2.2: Narrative: Fiction, Documentary, Polemic
• ‘Studies in Thought’
• 1920s Amateurs
• Grierson’s Avant-Garde
• War
• Post-War Revival
• Free Cinema
• Ambitious Narrative
• Work
• The Production of Meaning
• Image and Voice
• 2.3: Expanded Cinema and Video Art
• Film as Film
• Conceptual Art and Early Installations
• Video Art and Television
• Expanded Cinema
• Other Structures
• Gidal’s Legacy
• Later Installations
• 2.4: Politics and Identity
• Sexual Liberation?
• Feminism
• New Romantics
• Identity
• The Body
• Social Space
• Conclusion
• Index
• eCopyright