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Why have artists trained in non-cinematic media so often felt the need to enter into moving image practices at key moments in their creative development? This course searches for the many possible answers to this question by delving into three areas of the moving image that have become increasingly important for artists since at least the 1960s: experimental film, video art, and arthouse cinema. Throughout the semester, we will consider how and why these three modes of moving image practice have influenced modern and contemporary art. Readings will introduce students to a rich body of literature wherein artists not only draw upon theoretical texts but also function as theorists themselves, often thinking and writing critically in order to work through their own moving image projects. Among the areas we will cover: geometric and organicist abstraction, mediated autoperformance, fragmentary "counter-narratives," essayistic uses of montage, paracinema, found footage d