Tereza Stehlikova talks about her ongoing Ophelia project featuring a character who became trapped inside a virtual world during the pandemic.
Loosii Ninjas on the making of their interactive Google Street View works.
Adonia Bouchehri talks about the potential of moving image to create in-between-spaces where lived and imagined experiences meet.
Edd Carr reflects on his process of animating images printed on soil.
Kin | Cultura Plasmic INC examines surveillance through moving image practices beyond the realm of CCTV.
Courtlin Byrd reflects upon the process of discovery that comes from using found footage gleaned from youtube.
Lee Campbell shares his journey of using the ‘rip’ as a way of re-engaging with past work and past selves during the pandemic.
Anna Malina dissects her own practice and the creative potentials of the GIF.
Léna Lewis-King explores the tensions between the concrete and the virtual in her work as a way of confronting patriarchal perspectives.
Georgie Brinkman reflects on human/non-human collaboration through the making of her recent video installation.
Sapphire Goss explores the filmmaking potentials of stereoscopy, from early cinema and photography to the digital age.
Graeme Cole proposes a curriculum for a new filmmaking school which champions the amateur and the absurdist over the professional.
Calling all moving image artists and experimental filmmakers, we are now taking submissions for the 4th issue of MIA Journal!
Sapphire Goss introduces ‘Interior: an Exquisite Corpse film’ (2020), a collaborative project created during the covid-19 lockdown.
Daniel & Clara on the creative process, detours, landscape films and the impact of place on their work.
Scott Barley shares his nocturnal reflections on landscapes and filmmaking.
Peter Treherne’s account of shooting his film ‘Atmospheric Pressure’ on a Sussex farm.
Seán Vicary reflects upon memory and landscape in the making of his film ‘Chain Home West’.
Al Brydon introduces his short landscape film ‘Pantha Puncha’, and tells the tale of a late night encounter with a shadowy creature.
Autojektor retraces the steps of making her Super 8 film ‘Basilisk’ in the Black Forest.