This book assesses the contemporary status of photochemical film
practice against a backdrop of technological transition and
obsolescence. It argues for the continued relevance of material
engagement for opening up alternative ways of seeing and sensing
the world. Questioning narratives of replacement and notions of
fetishism and nostalgia, the book sketches out the contours of a
photochemical renaissance driven by collective passion, creative
resistance and artistic reinvention. Celluloid processes continue
to play a key role in the evolution of experimental film aesthetics
and this book takes a personal journey into the work of several key
contemporary film artists. It provides fresh insight into the
communities and infrastructures that sustain this vibrant field and
mobilises a wide range of theoretical perspectives drawn from media
archaeology, new materialism, ecocriticism and social ecology.
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