Abstract

Experimental and avant-garde aesthetics are one of the more demanding areas to grasp in film and media studies; one that challenges notions of subjectivity, spectatorship and medium that seem sound in the contemplation of a wider cinema. It often shares much with other disciplines, as the objects of study themselves look outward to philosophy, art history and cultural theory. Furthermore, it pushes against prescriptive critical attempts to historicise and delineate. But Akira Mizuta Lippit’s recent Ex-Cinema: From a Theory of Experimental Film and Video does not seek to provide another history of experimental cinema. ...