"What is pop cinema? There is no consensus as to what constitutes pop cinema; the notion that there might be a pop cinema has not been theorised. The history of experimental cinema and the history of artisté─˘s film and video, are non-continuous histories, full of ruptures and contradictions, moments of ambivalence and conflicting positions. Pop cinema is a particularly strange and difficult cinema to classify. On the one hand, aspects of pop can been seen in many strands of avant-garde film and artisté─˘s experiments with the moving image, from independent, underground or experimental cinema, expanded cinema, structuralist or structuralist materialist cinema, fluxus film, minimal film, and so on.
On the other hand, many of the films of Jean-Luc Godard and the French New Wave, or those by Michelangelo Antonioni and the Italian Neo Realism could certainly be described as pop. A pop cinema could also be understood in relation to the Free Cinema movement of the fifties and the social research studies of Mass-Observation in England, or to popular culture more generally, with television programmes like the Batman show in the sixties or the introduction of the music video in Top of the Pops."
- Tanya Leighton
About the curator:
Tanya Leighton is an independent curator and editor based in Berlin. Exhibitions include In The Poem About Love You Don't Write The Word Love (Midway Contemporary Arts, Minneapolis, Artists Space, New York 2006, and Centre for Contemporary Arts, Glasgow, 2005); David Lamelas: Exhibiting Mediality (Institute of Contemporary Art, University of Pennsylvania, Philadelphia, 2004); The Big Nothing, co-curated with Ingrid Schaffner and Bennett Simpson, (Institute of Contemporary Art, Philadelphia, 2004); 9 M?║tter XX04 (M?║tter Museum, The College of Physicians, Philadelphia, 2004); Homeland, Whitney Museum of American Art Independent Study Program Exhibition co-curated with Craig Buckley, Sara Reisman, Emily Rothschild, and Nat Trotman, (The Art Gallery of The Graduate Center, The City University of New York, 2003); Radioactive (Ayreen Anastas and Rene Gabri ), (White box, New York, 2002); Alfred Guzzetti: Under The Rain (Location One, New York, 2002); Vivre Sa Vie in venues across Scotland, 2000-2001; When Worlds Collide: Johan Grimonprez, Pierre Huyghe, John Waters (Center for Contemporary Arts, Glasgow, 1998).
Editorial projects include an anthology on film and video with Pavel B?║chler entitled Saving the Image: Art After Film (2003); In The Poem About Love You Don't Write The Word Love, (2006); Art and the Moving Image: A Critical Reader, Charles Esche, series ed., (2007).
With special thanks to Eric de Bruyn, Derek Boshier, Natascia Boeri, George Clark, Bruce Jenkins, William Kaizen, Josh Klein, Mike Sperlinger, and Polly Staple for their invaluable advice and assistance.
Theatrical poster featuing Peter Roehr's Film Montage, courtesy of Cinedoc