This experiment is part of a series titled Cinematic Experiments created by Margie Medlin with dance makers, Vicki Van Hout and Patrick Lucky Lartey, cinematographer Jane Castle, lighting designer, and media artist Fausto Brusamolino. The research took place as part of short residencies at FORM Dance Projects and the Creative Practice Research Unit at the University of New South Wales, in Sydney, Australia, in January 2018. Funded by the Emerging and Experimental fund of the Australia Council for the Arts.
Experiment No. 1 references Sean Cubitt’s proposal that ‘the frame identifies, gives identity and unity, to its contents. But the individual frame cannot bear this burden. We are too aware of what it excludes and we want to see what has been excluded’ (Cubitt 2005:47).
Cubitt, S. (2005) the Cinema Effect. Cambridge: MIT Press
Experiment No. 1 also references Sergei Eisenstein’s proposal of a dynamic square.
'In his 1931 essay “The Dynamic Square,” Sergei Eisenstein campaigned for a flexible cinematic frame, whose variable dimensions might allow filmmakers to explore “all the multitude of expressive rectangles in the world” (Eisenstein), thus opening up an indefinite vision of what this burgeoning artform could be. Unfortunately, his proposal was frustrated by the rigidity of the cinema screen, which then — as now — offered filmmakers a prescriptive landscape container for their creations, at the behest of forces both commercial and cultural'. (Lyne, C. 2017/2018)
Lyne, C. (2017) Frames and Containers [online] Available from [April 16 2018]