@article{8589212,
  abstract     = {{This thesis is dedicated to the development of the aesthetic expressions of three main genres of “Moving Image Art” from the 20's until today, so as to refine their different forms and directions. Furthermore, it takes the moving image as one of the clues to track the evolution of media in contemporary art, which is a course from sole-media to inter-media. In this research, “Moving Image Art” refers to “experimental” moving images created by contemporary artists, excluding commercial moving images such as industrial films and TV programs.

The history of “Moving Image Art”is divided into three periods according to my study, which are “The Film Times”, “The Cassette Times”, and “The Digital Times”. In correspondence, three genres of moving image art that were born in the three eras are “Experimental Film”,”Video Art” and “Media Art”.

“The Film Times” is from the 20s to the 60s of the 20th century. A new division of “artistic”, “avant-garde” films that compared to standardized fiction or documentary films was called “Experimental Film”. Through studies of some leading experimental filmmakers like Viking Eggeling, Oskar Fischinger, Fernand Leger, Stan Brakhage, the first aesthetic expression of this genre is defined as “moving painting", due to the fact that their works are often animations composed of abstract paintings without coherent movement. From the works of Maya Deren and Andy Warhol, the second aesthetic expression is summarized as "extreme narrative", the extensions of which are “metaphoric narrative” and “minimalist narrative”.

“The Cassette Times” is between the 60s and the 90s, therein the new category of moving image art is “Video Art”. From the representative works of Nam June Paik, Bruce Nauman, William Wegman and Bill Viola, three chief aesthetic expressions of Video Art are analyzed. First,"nonlinear time", which means that to be watched in a fixed sequence is often not vital for video art works, nevertheless experimental films basically follow linear timeline. The second is "conceptual", which indicates that many video art works focus more on concept than on film language, while the latter is crucial in experimental films. The last,"space based", because a video art work is often shown as an installation interacting with the exhibiting space, yet a typical experimental film is just shown on a screen.

“The Digital Times” started since the 90s, until today, in our time “Media Art” with moving images has become a tendency of “Moving image Art”. After some analysis on the works of Stelarc, Mariana Rondón and Cao Fei, as well as some multi-media performances, two dominant aesthetic expressions of media art are deduced. One is "Interaction", obviously manifested in Internet art works and interactive performances. The other one is"Intermedia", which encompasses media art works that are made of various medias overlapping each other. Among media art works, the role of the moving image is distinct in every work, increasingly it has become a component or a method, but not the main media of the creation, because today’s art has a hybrid face.}},
  author       = {{Sun, Weiwei}},
  issn         = {{1009-3699}},
  journal      = {{JOURNAL OF WUHAN UNIVERSITY OF SCIENCE AND TECHNOLOGY}},
  keywords     = {{Moving Image Art,Modern Art,Contemporary Art,Experimental Film,Video Art,Media Art}},
  language     = {{chi}},
  number       = {{2}},
  pages        = {{227--232}},
  title        = {{The expressions and parameters of moving image art, based on experimental film, video art and media art}},
  url          = {{http://wkdxb.wust.edu.cn/wkd_sk/ch/reader/view_abstract.aspx?flag=1&file_no=20130221&journal_id=wkd_sk}},
  volume       = {{15}},
  year         = {{2013}},
}