“Avant-Garde Film” Goes Digital Video: How Does the United States Fund Digital Video Art and Experimental Filmmaking?

Chapter
Part of the Media Business and Innovation book series (MEDIA)

Abstract

This chapter examines some of the history and theory regarding funding of digital video art and experimental filmmaking. It aims at discerning changes in practices and definitions driven by the current pervasion of digital technologies. I argue that some of the aesthetic styles and content formats of digital video art and experimental film have been co-opted both by “mainstream” Hollywood cinema and by independent and do-it-yourself (DIY) video culture . I shall discuss that this process of technology-driven “mainstreaming” not only redefines the culture of digital video art and experimental filmmaking but also opens up new opportunities for the artist and, importantly, challenges the existing funding ecosystem for digital video art and experimental filmmaking. Relying on interviews with contemporary filmmakers, correspondence with funders, and literature on the topic of funding in digital video art and experimental filmmaking in the United States, the chapter explores that public funding, in the US context, requires digital video art and experimental film artists to work with small budgets, piecemeal funding from local and private sources and support from academia.

Keywords

Avant-garde film Crowdfunding Cultural economics Digital cinema Digital video art and experimental filmmaking DIY filmmaking Film circulation Independent films Mainstreaming of experimental film Media arts New York State Council on the Arts Public film funding scheme The United States of America Virtual reality 

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Copyright information

© Springer International Publishing AG, part of Springer Nature 2018

Authors and Affiliations

  1. 1.University of Colorado DenverDenverUSA
  2. 2.Columbia UniversityNew YorkUSA

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