This course examines the histories, theories, and diverse practices of contemporary moving image art. Focusing on the developments of moving image practices from the 1960s to the present day, the course explores how moving images and time-based practices have become such central components of contemporary art. We will critically explore moving image art in relation to other art forms (including performance, photography, and installation), as well as in relation to other media formats such as the cinema, television, and social media. Key topics to be covered will include: Theories of spectatorship; Experimental and expanded cinema; The birth of video art; Australian media art histories; Digital, multimedia & interactive art; Contemporary installation art.
Upon successful completion, students will have the knowledge and skills to:
- describe and analyse major developments in moving image art practices from the 1960s to the present day;
- demonstrate an understanding of the socio-political and technological developments that have impacted on the development of the moving image as an art form;
- apply key theoretical frameworks to a diverse example of moving image artworks;
- expand their skills of visual analysis, writing and speaking confidently about the specific nature of moving image and time-based art; and
- complete independent research into moving image art, and organise this research into convincing arguments.
This course involves screenings of films, videos and moving image artworks. Every attempt will be made to make these available online through ANU systems, however copyright requirements and artwork format restrictions mean that this may not always be possible. Attendance at screenings and lectures is therefore expected (in accordance with any COVID-19 restrictions and ANU campus safety alert levels).
In order to give students access to a wide variety of moving image art, a small number of screenings may be run off-campus at National Cultural Institutions (where possible). Please note that these institutions may not allow works from their collections to be recorded for asynchronous viewing.
- Written Analysis Exercise (1000 words) (25) [LO 1,2,3,4,5]
- Research Essay (2000 words) (45) [LO 1,2,3,4,5]
- Take-Home Test (1000 words) (20) [LO 1,2,3,4]
- Participation (10) [LO 1,2,3,4]
The ANU uses Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. While the use of Turnitin is not mandatory, the ANU highly recommends Turnitin is used by both teaching staff and students. For additional information regarding Turnitin please visit the ANU Online website.
130 hours of total student learning time made up from: a) 36 hours of contact over 12 weeks: 24 hours of lectures and screenings; and 12 hours of tutorials; and b) 94 hours of independent student research, reading and writing. Contact hours may include visits to major art institutions in Canberra.
Requisite and Incompatibility
Balsom, Erika. After unique-ness: A history of film & video art in circulation. New York: Columbia University Press, 2017.
Bellour, Raymond. Between-the-Images. Zurich: JRP/Ringier, 2012.
Connolly, Maeve. The place of artists' cinema: Space, site and screen. Bristol, UK; Chicago, USA: Intellect, 2009.
Connolly, Maeve. TV Museum: Contemporary Art and the Age of Television. Bristol, UK; Chicago, USA: Intellect, 2014.
Cubitt, Sean. Videography: Video media as art and culture. Basingstoke: Macmillan, 1993.
Elwes, Catherine. Installation and the moving image. New York: Columbia University Press, 2015.
Frampton, Hollis. Circles of confusion: film, photography, video: texts 1968-1980. Rochester, NY: Visual Studies Workshop Press, 1983.
Graham, Beryl and Sarah Cook. Rethinking curating: Art after new media. Cambridge, Mass.: MIT Press, 2010.
Grau, Oliver. Virtual art: From Illusion to Immersion. Cambridge, Mass.: MIT Press, 2003.
Iles, Chrissie. Into the light: The projected image in American art, 1964-1977. New York: Whitney Museum of American Art, 2001.
Iles, Chrissie. Dreamlands: Immersive Cinema and Art 1905–2016. New York: Whitney Museum of American Art, 2016.
Jennings, Gabrielle, ed. Abstract video: The moving image in contemporary art. Oakland: University of California Press, 2015.
Krauss, Rosalind. "Video: The Aesthetics of Narcissism." October 1 (1976): 51-64.
Marks, Laura U. Hanan al-cinema: Affections for the moving image. Cambridge, Mass.: MIT Press, 2015.
Meigh-Andrews, Chris. A History of Video Art. 2nd ed. New York: Bloomsbury Academic, 2014.
Paul, Christiane. Digital Art. 3rd edition. London: Thames & Hudson, 2015.
Perkins, Matthew, ed. Video Void: Australian Video Art. North Melbourne: Australian Scholarly Publishing, 2014.
Rees, A.L. et al, eds. Expanded cinema: Art, performance, film. London: Tate, 2011.
Summerhayes, Catherine. The moving images of Tracey Moffatt. Milano: Charta, 2007.
Westgeest, Helen. Video Art Theory. Chichester: Wiley Blackwell, 2016.
Tuition fees are for the academic year indicated at the top of the page.
Commonwealth Support (CSP) Students
If you have been offered a Commonwealth supported place, your fees are set by the Australian Government for each course. At ANU 1 EFTSL is 48 units (normally 8 x 6-unit courses). More information about your student contribution amount for each course at Fees.
- Student Contribution Band:
- Unit value:
- 6 units
If you are a domestic graduate coursework student with a Domestic Tuition Fee (DTF) place or international student you will be required to pay course tuition fees (see below). Course tuition fees are indexed annually. Further information for domestic and international students about tuition and other fees can be found at Fees.
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