The Art of Projectionism 


by Frederick Baker (in German) sets out the principles behind his use of projectors in the film making process.

The Art of Projectionism, expanded cinema, multi projection

The film director and author, Frederick Baker is a prizewinning Austrian-British filmmaker who has given his artistic praxis the title Projectionism. The two key points of projectionism are that everything is a potential projection surface (water, skin, smoke, snow…) and that projection is not just a metaphor but a physical act. The principles behind his use of projectors in the film making process are set out in his book The Art of Projectionism, Czernin Verlag, Vienna 2007.

His major projectionist feature documentary Shadowing the Third Man was selected for the Cannes International Film Festival in 2005.


Source: 4youreye



Frederick Baker is an Austrian-British filmmaker and film producer, who was born in Salzburg, brought up in London, and studied Anthropology and Archaeology at St John’s College, Cambridge, Tübingen and Sheffield Universities, finishing with a Master of Philosophy. He divides his time between London, Berlin and Vienna, producing and directing films, as well as writing articles and books. In the book The Art of Projectionism (2007) he defined a projectionist school of filmmaking and media art. In this publication he also presented Ambient film, a surround experience that can be shown in specially developed Ambient Cinemas. (...)

Baker teaches film at the Donau University, Krems and St Pölten University in Austria. He has lectured on film, media and journalism at the Bauhaus University, Weimar, the Universität der Künste in Berlin and Middlesex University in London.


Source: Wikipedia



ISBN-10: 3707602354

ISBN-13: 978-3707602357



The Art of Projectionism, expanded cinema, multi projectionThe Art of Projectionism, expanded cinema, multi projection


Expanded Cinema (1970) - In a brilliant and far-ranging study, Gene Youngblood traces the evolution of cinematic language to the end of fiction, drama, and realism. New technological extensions of the medium have become necessary. Thus he concentrates on the advanced image-making technologies of computer films, television experiments, laser movies, and multiple-projection environments. Outstanding works in each field are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists. (John Coulthart)

VJ: Audio-Visual Art + VJ Culture (2006) edited by D-Fuse. A major change has taken place at dance clubs worldwide: the advent of the VJ. Once the term denoted the presenter who introduced music videos on MTV, but now it defines an artist who creates and mixes video, live and in sync to music, whether at dance clubs and raves or art galleries and festivals. This book is an in-depth look at the artists at the forefront of this dynamic audio-visual experience. (Laurence King Publishing)

‘vE-”jA: Art + Technology of Live Audio-Video (2006) by Xarene Eskander is a global snapshot of an exploding genre of tech-art performance: VJing and live audio-video. The book covers 40 international artists with 400+ colour images and 50+ movies and clips on an accompanying DVD and web downloads. (VJ Book)



Shutter Interface (1975) by Paul Sharits is a hypnotic work a quartet of 16mm projectors stand, figure-like, side by side on imposing pedestals facing a long wall. Four looped films of varying lengths are unspooled and respooled in jewel-like swathes of colour interspersed with single black frames, creating the flicker effect Paul Sharits was the first to explore in colour films. (Frieze Magazine)

The Drowning (2009) by Kasumi explores the impressions running through a man’s mind in the moments before his death: the sensation of time slowing down, of heightened bodily perceptions, and the simultaneous unreeling of an internal cinema of images. (Kasumi)

Malcolm Le Grice (1940) is probably the most influential modernist filmmaker in British cinema. Malcolm LeGrice's work has explored the complex relationships between the filmmaking, projecting and viewing processes which constitute cinema as a medium, and shows an intense interest in the processes enabled by optical printers and by the combination of different types and gauges of film stock. (Screenonline)

Simple Harmonic Motion study #5d (2011) by Mehmet Akten is an ongoing research and series of projects exploring the nature of complex patterns created from the interaction of multilayered rhythms. This version was designed for and shown at Ron Arads Curtain Call at the Roundhouse. This ultra wide video is mapped around the 18m wide, 8m tall cylindrical display made from 5,600 silicon rods, allowing the audience to view from inside and outside. (Mehmet Akten)

Daniel Franke (*1982) works as an artist, designer and music video director in Berlin. His works challenge the restrictions of conventional spatial frameworks and -concepts: digital simulations should no longer be limited to an on-screen-display; instead the digital might be imagined as transferable into real space and thus extend perceptions of the real. Ultimately digital spaces should leave the realm of the virtual and enter the tactile. (Daniel Franke)