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Abstract
Since the advent and standardization of the theatrical feature length film, the audio-visual short has been more or less marginalized in the discussions on cinematic experience. Historically stretching from the ‘early cinema’ of the vaudeville, to the now obsolete ‘little films’ of YouTube and beyond, the audio-visual short traverses a wide variety of media platforms, practices and technologies, including animation, video installation art, video clips and TV commercials, as well as animated GIFs, machinima and DIY movies, made to measure for handheld devices. The widespread usage of the format suggests that short audio-visual artefacts are not an anomaly or rarity on the periphery of cinema, but rather should be put at the centre of our discussions when rethinking cinematic experience and the moving image today. Such is the request we have made to the contributors to this volume: to write a short essay on short film experience.
Keywords
flicker film, feature, loop, duration, video art, experimental film, demo, short, GIF, concision, experience, film

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MLA
Hesselberth, Pepita, and Carlos Miguel Roos Munoz. “Short Film Experience: Introduction.” EMPEDOCLES : EUROPEAN JOURNAL FOR THE PHILOSOPHY OF COMMUNICATION, vol. 5, no. 1–2, Intellect, 2015, pp. 3–12, doi:10.1386/ejpc.5.1-2.3_2.
APA
Hesselberth, P., & Roos Munoz, C. M. (2015). Short film experience: introduction. EMPEDOCLES : EUROPEAN JOURNAL FOR THE PHILOSOPHY OF COMMUNICATION, 5(1–2), 3–12. https://doi.org/10.1386/ejpc.5.1-2.3_2
Chicago author-date
Hesselberth, Pepita, and Carlos Miguel Roos Munoz. 2015. “Short Film Experience: Introduction.” EMPEDOCLES : EUROPEAN JOURNAL FOR THE PHILOSOPHY OF COMMUNICATION 5 (1–2): 3–12. https://doi.org/10.1386/ejpc.5.1-2.3_2.
Chicago author-date (all authors)
Hesselberth, Pepita, and Carlos Miguel Roos Munoz. 2015. “Short Film Experience: Introduction.” EMPEDOCLES : EUROPEAN JOURNAL FOR THE PHILOSOPHY OF COMMUNICATION 5 (1–2): 3–12. doi:10.1386/ejpc.5.1-2.3_2.
Vancouver
1.
Hesselberth P, Roos Munoz CM. Short film experience: introduction. EMPEDOCLES : EUROPEAN JOURNAL FOR THE PHILOSOPHY OF COMMUNICATION. 2015;5(1–2):3–12.
IEEE
[1]
P. Hesselberth and C. M. Roos Munoz, “Short film experience: introduction,” EMPEDOCLES : EUROPEAN JOURNAL FOR THE PHILOSOPHY OF COMMUNICATION, vol. 5, no. 1–2, pp. 3–12, 2015.
@article{5844816,
  abstract     = {{Since the advent and standardization of the theatrical feature length film, the audio-visual short has been more or less marginalized in the discussions on cinematic experience. Historically stretching from the ‘early cinema’ of the vaudeville, to the now obsolete ‘little films’ of YouTube and beyond, the audio-visual short traverses a wide variety of media platforms, practices and technologies, including animation, video installation art, video clips and TV commercials, as well as animated GIFs, machinima and DIY movies, made to measure for handheld devices. The widespread usage of the format suggests that short audio-visual artefacts are not an anomaly or rarity on the periphery of cinema, but rather should be put at the centre of our discussions when rethinking cinematic experience and the moving image today. Such is the request we have made to the contributors to this volume: to write a short essay on short film experience.}},
  articleno    = {{1}},
  author       = {{Hesselberth, Pepita and Roos Munoz, Carlos Miguel}},
  issn         = {{1757-1952}},
  journal      = {{EMPEDOCLES : EUROPEAN JOURNAL FOR THE PHILOSOPHY OF COMMUNICATION}},
  keywords     = {{flicker film,feature,loop,duration,video art,experimental film,demo,short,GIF,concision,experience,film}},
  language     = {{eng}},
  number       = {{1-2}},
  pages        = {{1:3--1:12}},
  publisher    = {{Intellect}},
  title        = {{Short film experience: introduction}},
  url          = {{http://doi.org/10.1386/ejpc.5.1-2.3_2}},
  volume       = {{5}},
  year         = {{2015}},
}

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