This article explores the idea of “materiality” as it relates to contemporary experimental moving image practice. It argues that rather than effacing the role of materiality, the digitization of the moving image has heightened and complexified its ability to function as an engine of affect. Here, the idea of “material” is considered a specter that constantly returns to reinvent itself within the liquid domain of the digital. To illustrate these points, I will draw off a range of example artworks featured in the recent internationally focused curatorial project Re:Cinema. These works simultaneously engage the traditions and strategies of experimental art practice (flicker film, structuralist film, montage, experimental video) and popular culture (television, music video, vernacular video) to reassert the material underpinnings of the image itself.

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