Abstract
This paper discusses the conceptual underpinnings of the exhibition project Re:Cinema. Rather than settling around the relatively stable formal and ontological parameters of the historical forms of cinema, the moving image is addressed in terms of its fragmentation, ubiquity and volatility. Through a discussion of key examples, the very embeddedness of historical forms within the contemporary moving image-scape is examined. To this end the idea of the 'cinematic' is evoked not as a totalising system, but rather as a persistent conceptual and visual presence that informs contemporary moving image production and artistic inquiry.
