Abstract
Revisioning the significance of Stan VanDerBeek is beset with a number of historiographical problems that tell us a great deal about history-making in technological times. Why, and more importantly, how, does a key experimental filmmaker breaking radical ground in animation and a technoart innovator of the American avant-garde of the 1960s and 70s fall into complete obscurity? The author argues that a very similar process is taking place around the reductive term ‘digital media’, the shift in technocultural production and consumption that rendered all filmic consciousness as animation.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
