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ABSTRACT
This article examines the aesthetics of experimental film as a medium for architectural critique with reference to the urban films of three contemporary British avant-garde filmmakers: Patrick Keiller, William Raban and John Smith. It argues that the aesthetics of experimental film, dependent on the employment of certain cinematic techniques, such as montage, mediate visuality beyond the focused perspectival vision to create critical mediations of contemporary global urbanisms.
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Notes on contributors
Panagiota (Betty) Nigianni
Betty Nigianni is educated in the areas of architecture (B.Sc./Dip. Arch.), architectural history and theory (MA), and critical cultural theory and philosophy (M.Phil.). Most recently, she has completed studies in the School of Media and Communications at Goldsmiths' College, University of London. She has written on architecture, culture and media, with publications included in the book From Models to Drawings: Imagination and Representation in Architecture (2007), and the critical theory journals Journal of European Studies (2006) and Gramma: Journal of Theory and Criticism (2003). She is primarily affiliated as a Teaching Fellow with Winchester School of Art, University of Southampton.