Expanded Cinema
Expanded Cinema by
."Part One: The Audience and the Myth of Entertainment"
In the first part of the book, Youngblood attempts to show how expanded cinema will unite art and life. "Television's elaborate movie-like subjective-camera simulation of the first moon landing" (p46) showed a generation that reality was not as real as simulation. He says that he is writing "at the end of the era of cinema as we've known it, the beginning of an era of image-exchange between man and man" (p. 49). The
The intermedia network has made all of us artists by proxy. A decade of television-watching is equal to a comprehensive course in dramatic acting, writing, and filming...the mystique is gone—we could almost do it ourselves. Unfortunately too many of us do just that: hence the glut of sub-mediocre talent in the entertainment industry.
- — p. 58
This is what forces cinema to expand and become more complex. Mass media entertainment dulls people's minds. It is a closed,
"Part Two: Synaesthetic Cinema: The End of Drama"
Youngblood describes television as the
"Part Three: Toward Cosmic Consciousness"
Youngblood analyses
"Part Four: Cybernetic Cinema and Computer Films"
Youngblood defines the technosphere as a symbiosis between man and machine. The computer liberates man from specialization and amplifies intelligence (pp. 180–182). He draws comparisons between computer processing and human neural processing (pp. 183–184). Logic and intelligence is the brain's software. He predicts that computer software will become more important than
"Part Five: Television as a Creative Medium"
Youngblood describes the videosphere, in which computers and televisions are extensions to man's central nervous system. He is optimistic about technological advances and predicts
"Part Six: Intermedia"
Youngblood sees the artist as an ecologist, involved with the environment rather than with objects (pp. 346–351). By way of example he cites the video displays at world expositions (specifically Roman Kroitor's large-scale projections at Expo 67 and Expo '70 (pp. 352–358), and the Cerebrum, an art/nightclub environment. Artists such as Carolee Schneemann and Robert Whitman combine film projection with live performance (pp. 366–371). Wolf Vostell incorporates video experiments into environmental contexts (p. 383). Light shows are used in concerts and multiple projectors and video screens create complex environments.
"Part Seven: Holographic Cinema: A New World"
Finally, Youngblood explores the creative potential of holography.
Key ideas
- Future shock
- Intermedia
- Neuroesthetics
- Noosphere
- Synaesthesia
References
- ^ Manovich, Lev. 2002. "Ten Key Texts on Digital Art: 1970–2000". Leonardo. 35 (5): 567–569.
External links
- Expanded Cinema at the Internet Archive (registration required)
- YOUNGBLOOD, GENE. "Expanded Cinema: Fiftieth Anniversary Edition." S.l.: FORDHAM UNIVERSITY PRESS, 2020.
- Youngblood, Gene, Pier L. Capucci, and Simonetta Fadda. "Expanded Cinema." Bologna: CLUEB, 2013.
- Youngblood, Gene. Cine Expandido, Buenos Aires: EDUNTREF, 2012, ©1970.