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- Volume 2, Issue 1, 2013
Moving Image Review & Art Journal (MIRAJ), The - Volume 2, Issue 1, 2013
Volume 2, Issue 1, 2013
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Once more with feeling: Performing the self in the work of Gillian Wearing, Kutluğ Ataman and Phil Collins
More LessThis article argues for the recognition of a new trajectory of performance-on-video, using work by Gillian Wearing, Kutluğ Ataman and Phil Collins. In this trajectory the artist has disappeared behind the camera to be replaced by real, ordinary, amateur people. Given the contemporary proliferation of recordings of ordinary people performing on reality television and on the Internet, this article asks what the act of artists recording ordinary people might now ‘mean’ to us, and, equally, how real people performing in video art might themselves ‘matter’. Through close analyses of Wearing’s Confess all … Ataman’s Women Who Wear Wigs and Collins’s the world won’t listen we find that a different kind of participatory space is gained on-screen in which artist, performer and eventual gallery visitor are drawn together through affective connections. Accordingly, the article concludes that in giving attention to this new trajectory of performance-on-video, what we ultimately discover are other ways of thinking about the act of recording that make faith in the subject possible once again.
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Peter Gidal’s anti-narrative: An art of reprisal reappraised
More LessIn this article I will reassess the ideas of artist, intellectual and educator Peter Gidal, who, unlike his similarly positioned contemporaries Laura Mulvey and Peter Wollen, is not well remembered today outside avant-garde film histories and readerships. Throughout the 1970s and 1980s, in a series of publications through the BFI press, in more artists’ film-focused journals such as Afterimage and Undercut, and, most significantly in the then leading film theory journal Screen, Gidal argued the centrality of the avant-garde, especially a local British expression he termed ‘structural/materialist’ film. Drawing on previous studies of Gidal by Deke Dusinberre (1976) and D. N. Rodowick (1988), and also the study of intellectual, literary and artistic fields by Pierre Bourdieu (1993), I propose, notwithstanding the lack of current interest in screen studies in the avant-garde and its association with the ‘teleologies of negation’ (James Donald 1989), a reappraisal of the significance and relevance of Gidal’s contribution to the theorization and practice of cinema in higher education. I will contest the historical reputation of Gidal and to some extent his own presentation of himself as an outsider (2006) with the argument that he simultaneously challenged and developed ideas central to screen studies to their most extreme and difficult conclusion. Gidal’s enduring influence on artists’ film in Britain has been acknowledged, but his contribution to screen theory is much less widely known, and the productive potential of his ideas not well understood or pursued.
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Approximation: Documentary, history and the staging of reality
More LessThe article explores the idea of ‘approximation’: the layered understanding of historical moments and events via works whose aim is to approximate reality and all its ramifications, rather than more straightforwardly to represent it. It sets out to discuss the terrorist attacks on the World Trade Center, 11 September 2001, through juxtaposition with representations and re-enactments of their most notable and traumatic antecedent, namely the assassination of President John Kennedy, 22 November 1963. After briefly examining how the two events are brought together in the television series Mad Men, issues of history, representation and art are analyzed in more detail in relation to Abraham Zapruder’s home movie of the assassination, Bruce Conner’s Report (1963–1967) and Ant Farm and T. R. Uthco’s The Eternal Frame (1976).
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The aesthetics and politics of obsolescence: Hand-made film in the era of the digital
Authors: Martine Beugnet and Kim KnowlesThis article discusses contemporary handmade film-making as a form of critical practice that is now developing within the context of celluloid obsolescence and the frequent proclamations about the waning significance of film in the digital era. Because of its engagement with the materiality of film, artisanal film-making offers itself as a form of metacinematic reflection – film reflecting on the possibility and meaning of its own disappearance and the eventuality of its survival. Hence, in the films described below, to work with celluloid is to go beyond ‘analogue nostalgia’ in a restrictive, fetishistic sense, and to focus instead on the significance and topicality of the specific creative process that artisanal film-making entails. We argue that, whilst these films continue a structural-materialist tradition of experimental cinema, they reframe and renew materialist practice by engaging with wider themes of technological and cultural obsolescence.
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Expanded Cinema: Art, Performance, Film, A. L. Rees, Duncan White, Steven Ball and David Curtis (eds), (2011)
More Less1st ed., London: Tate Publishing, 298 pp., ISBN: 978-1-85437-0, p/bk, £19.99
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Revealing the Invisible: The Art of Stansfield/Hooykaas from Different Perspectives, Madelon Hooykaas and Claire van Putten (eds), (2010)
More Less1st ed., the Netherlands: Uitgeverij De Buitenkant, 335 pp., ISBN: 978-94-00913-03-8, h/bk, £40/$50
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The end of television: David Hall’s 1001 TV Sets (End Piece)
By Steven BallAmbika P3, London 16 March – 22 April 2012
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Editorial
Authors: Michael Mazière and Lucy Reynolds
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