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Although the relationship between cycling and cinema has recently received some attention from researchers, there are no accounts on how it links to experimental documentary film and avant-doc storytelling. To fill this gap, I take a phenomenological stance on cycling to discuss the rider’s embodied experience of travel in a few short and stylistically distinct works, Chuck Hudina’s  Bicycle  (1975), Jon Behrens’  Girl and a Bicycle  (1995), Vanessa Renwick’s  The Yodeling Lesson  (1998), Ken Paul Rosenthal’s  I My Bike  (2002), Tomonari Nishikawa’s  Into the Mass  (2007) and Tony Hill’s  Bike  (2013). Despite a different format and narrative focus, which questions the genderedness of cycling, explores it in a trance and dreamlike state or turns it into the sheer spectacle of motion, all films echo the recent phenomenological turn in film studies and present cycling as a multisensorial, kinesthetic practice, demonstrating how the rider-bicycle hybrid assemblage relates to both cycling mobilities and the riding environment. Compared to narrative and fiction film, experimental documentary film looks at the bicycle identity as a distinctive subject of inquiry and maps cycling not so much through its traditional connotations as through the actual lived experience, one that is not necessarily already pre-determined, mediated and ideological.

From naked bike rides to spectacles of motion: cycling and the rider-bicycle in experimental documentary film