"The Off-Cuts: Expended Cinema” incorporates a series of the off-cuts: cinematic residues, filmic materials, and cutoff materials compiled from various moving images. This dissertation theorizes the off-cuts as expenditures of an expended cinema: a series of excessive details whose parasitic lives suspend idealized conceptualization of cinematic materiality and utilitarian, yet extractive formal reading protocols. This study argues for the necessity to shift suspended attention towards an aesthetics of the informe: a non-extractive consideration of cinematic materiality and form.