Department:Cambridge School of the Creative Industries
Areas of Expertise: Film, media and communication studies
Simon is an experimental filmmaker, whose work has shown in cinemas, museums and galleries worldwide. He teaches various practice and theory modules across our film and media studies courses.
Simon’s films have been shown at Anthology Film Archives, the European Media Arts Festival, the Media City Film festival and at the Rotterdam, London and Edinburgh film festivals several times. His work has also shown at Tate Modern, the Camden Arts Centre, the Serpentine Gallery and numerous other film, media and arts venues. His work typically explores fundamental aesthetics of film and digital imaging by way of quick cutting, abstract forms and solid colour fields.
He has written widely on experimental film and video for Sight and Sound, Millennium Film Journal, Senses of Cinema and Sequence, which he edited between 2011-2016. In 2016 he published with Nicky Hamlyn and A.L. Rees the first English language book on the seminal avant-garde filmmaker Kurt Kren.
He has also introduced film programmes at various venues including Tate Modern, The Hermitage Museum, St Petersburg, and Modern Art, Oxford. Since 2014 he has been curating the series Contact, which makes connection across contemporary experimental media arts. In 2013 he was the co-curator of Assembly: A Survey of Recent Artists’ Film and Video Made in Britain, which showcased over 90 artists’ work in a series of 25 programmes at Tate Britain.
Hamlyn, N., Payne, S.R., and Rees, A.L. (eds.), 2016. The Structural Films of Kurt Kren. Bristol: Intellect
Payne, S.R., 2016. Images on the Threshold: Malcolm Le Grice. Sight and Sound (July)
Payne, S.R., 2016. Negative Light: Contemporary British Experimental Film and Video. Senses of Cinema, issue 78
Payne, S.R., 2014. Framing Forces: Models of Cinema Expressed by Films that Frame Painting. Journal of Contemporary Painting, 1(1).
Payne, S.R., 2012. Smooth Movement/Frenetic Motion/Flicker: Vice Versa Et Cetera. Animation Practice, Process and Production, 1(2).
Payne, S.R., 2010. Edgy Colour: Digital Colour in Experimental Film and Video. In: Inflexions, 4, http://www.inflexions.org/n4_paynehtml.html.
Cate Elwes, C., 2015. Installation and the Moving Image. Wallflower/Columbia University Press
A.L. Rees, A.L., 2013. Physical Optics: A Return to the Repressed. Millennium Film Journal, no.58 35th Anniversary Edition
Small, E.S. and Johnson, T., 2013. Direct Theory: Experimental Motion Pictures as Major Genre, 2nd ed. Carbondale: University of Southern Illinois
Rees, A.L., 2011. A History of Experimental Film and Video. 2nd edition. London: BFI
Ball, S., 2011. Conditions of Music: Contemporary Audio-Visual Spatial Performance Practice Post Expanded Cinema. Expanded Cinema, edited by Duncan White et al., London: Tate
Hamlyn, N., 2003. Film Art Phenomena. London: BFI