This talk by Juan A. Suárez will offer a historical and critical reading of the pervasive presence of film grain in the work of (queer) experimental filmmakers from the early 1960s forwards. It will trace the links between the discontinuous rendering fostered by grain and other forms of representation in vogue at the time, such as the Ben Day dots and silkscreening used by pop artists and the emerging digitization of information in post-war cybernetics. At a later moment, it will explore the signification of the spectral, grainy body in the work of a range of filmmakers such as Andy Warhol, Carolee Schneemann, Tom Chomont, Luther Price, and Peggy Ahwesh, among others.
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