ABSTRACT
This chapter looks at the expanded cinema performances Autobodys (1963) and Moveyhouse (1965), which model a nontraditional view of the cinema by transferring strategies from the visual arts, happenings, and experimental film into a form of performance art that reconceptualizes what a cinematic experience is. Oldenburg’s artistic cinema, by intermedial means, rejects the use of celluloid film altogether. The camera eye no longer operates as an instrument of structural alignment, a gateway to magic, or an epistemic stepping stone toward determining the structure of human consciousness. Rather, it acts as a discursive tool to question where and what cinema is, leading toward an analogy between seeing and dreaming.
