Theorizing Film Through Contemporary Art: Expanding Cinema

doi:10.1017/9789048542024

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Theorizing Film Through Contemporary Art

Theorizing Film Through Contemporary Art

Expanding Cinema

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Edited by Laura Rascaroli, Jill Murphy

Publisher:: Amsterdam University Press
Online publication date:: June 2021
Print publication year:: 2020
Online ISBN:: 9789048542024
DOI:: https://doi.org/10.1017/9789048542024

Subjects:: Film, Ethics, Film, Media, Mass Communication, Philosophy

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As the cinematic experience becomes subsumed into ubiquitous technologies of seeing, contemporary artworks lift the cinematic from the immateriality of the film screen, separating it into its physical components within the gallery space. How do film theorists read these reformulations of the cinematic medium and their critique of what it is and has been? Theorizing Cinema through Contemporary Art: Expanding Cinema considers artworks that incorporate, restage, and re-present cinema's configurations of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, thereby addressing the creation, appraisal, and evolution of film theory as channeled through contemporary art. Taking film theory as a blueprint for the moving image, and juxtaposing it with artworks that render cinema as a material object, this book unfolds a complex relationship between a theory and a practice that have often been seen as virtually incompatible, heightening our understanding of each and, more pertinently, their interactions.

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Theorizing Film Through Contemporary Art

Expanding Cinema

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Frontmater
pp 1-4

Dedication
pp 5-6

Contents
pp 7-8

List of Illustrations
pp 9-12

Acknowledgments
pp 13-14

Foreword: Courtesy of the Artists
pp 15-32

Introduction: On Cinema Expanding
pp 33-46

Part One - Materialities
pp 47-48

1 - Cinema as (In)Visible Object; Looking, Making, and Remaking
pp 49-68

2 - Objects in Time; Artefacts in Artists’ Moving Image
pp 69-82

3 - Materializing the Body of the Actor; Labour, Memory, and Storage
pp 83-100

4 - How to Spell ‘Film’; Gibson + Recoder’s Alphabet of Projection
pp 101-120

Part Two - Immaterialities
pp 121-122

5 - The Magic of Shadows; Distancing and Exposure in William Kentridge’s More Sweetly Play the Dance
pp 123-142

6 - Douglas Gordon and the Gallery of the Mind
pp 143-156

7 - A Throw of the Dice Will Never Abolish Chance; Tacita Dean’s Section Cinema (Homage to Marcel Broodthaers)
pp 157-172

Part Three - Temporalities
pp 173-174

8 - The Photo-Filmic Diorama
pp 175-194

9 - The Cinematic Dispositif and Its Ghost; Sugimoto’s Theaters
pp 195-212

10 - Time/Frame: On Cinematic Duration
pp 213-228

Part Four - The Futures of the Image
pp 229-230

11 - Interactivity without Control; David OReilly’s Everything (2017) and the Representation of Totality
pp 231-254

12 - Post-Cinematic Unframing
pp 255-276

13 - Absolute Immanence
pp 277-292

Index
pp 293-302

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Theorizing Film Through Contemporary Art

Expanding Cinema

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