Abstract
Just as the film frame is always filled with image, regardless of how few objects might inhabit the space of that image, so too the contents of the aquarium extend to meet its edges, to produce what artist filmmaker Phillip Warnell, in an essay accompanying his film Outlandish: Strange Foreign Bodies (2009), describes as ‘the sea with corners’.1 Like the aquarium tank, film imposes a geometric form on what is by nature expansive, amorphous and, potentially, infinitely continuous, were it not for the containing limits that package its contents for observation. In this essay I move from the entwined histories of aquarium tanks and screen technologies to explore the specificities of the encounter between screen images and other framed visions of aquatic life. I start with a broadly historical trajectory, through an exploration of the mirroring in the development of screen and aquarium exhibition practice. The formal echoes identified...
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