Towards Artists' Moving Image: Film and Cinematic Consciousness, Britain 1896-1966

本文将研究运动图像技术和文化对艺术家的影响，以及1896年（英国第一次电影放映）到1966年（伦敦电影制作人合作社成立的那一年，也是大多数现有艺术家运动图像研究的起点）期间在英国制作的艺术品。这门学科本质上是跨学科的，它将研究电影形式和理论对绘画、雕塑和版画等传统艺术媒体的影响（延伸到相关的平面设计和纺织品应用），同时研究前卫或实验电影制作和商业背景下的艺术家。推动我研究的问题是：在二十世纪上半叶的英国，艺术和动态影像是如何相互影响的？在这个过程中产生了哪些新的想法和活动？哪些个人和机构在这一发展过程中蓬勃发展并形成了这种发展？他们是如何调解对相关作品的接受和解释的？

This thesis will examine the impact of moving image technology and culture for artists and on artworks produced in Britain during the period 1896 (when the first film screening was held in the UK) to 1966 (the year in which London Filmmaker's Cooperative was founded and the point of departure for most existing studies on artists' moving image). The subject is essentially cross-disciplinary and will incorporate research into instances where film form and theory influence traditional artistic media of painting, sculpture and printmaking (extending into Graphic Design and textiles applications where relevant) alongside research into instances of artists working both in avant-garde or experimental film production and in a commercial context. The research questions driving my enquiry are: how did art and the moving image affect one another in the first half of the twentieth century in Britain? What new ideas and activities developed as a result of this process? What individuals and institutions flourished within and shaped this development? How did the mediate the reception and interpretation of relevant work?