Tom's research intersects with both film studies and art history, his research project is about the historical and aesthetic interaction between experimental film and Pop Art. Since the Independent Cinema Office’s touring programme of Pop themed artist’s film and video in 2008 there has been a sharp uptake in a variety of institutions offering curated narrative and non-narrative film selections which claim to define themselves as ‘Pop Cinema’. This project aims to interrogate the historical foundations of such a claim, reading critical and theoretical film and art-historical discourses to locate a non-essentialist definition of both Pop Art and Pop Cinema. From the standpoint of Pop Cinema as a mutable and fluid concept, it will go on to delineate and analyse three stylistic and thematic areas where pop and cinema converse on aesthetic and political planes. Unifying these discussions will be notions of the malleability of temporality inherent to the moving image. Section one, Pop Documents, concerns itself with stillness and motion in the artistic output of William Klein. Following this, Pop Icons uses theories of repetition to examine the role of iconography in a variety of films and videos from Bruce Conner to George Barber. Section three will investigate questions of speed alongside examples of work by Jeff Keen, Bruce Conner, and Frank and Caroline Morris.
Tom's research interests include: Experientmal/Avant-Garde filmmaking and Culture, Global Art Cinema, Realism and the Cinema, Contemporary Documentary and the relationship of Film to the Other Arts.
Talks/ research engagements
‘Pop Cinema: Aesthetic conversations and Temporal Dissonances Between Art and The Moving-Image’, School of Design Work in Progress Seminar, Edinburgh College of Art, 25/11/16.