This book addresses the preoccupation with memory in contemporary artists’ moving image installations. It situates artists’ moving image in relation to the transformations of digitalization as hybrid intermedial combinations of analogue film, video and digital video emerge from mid 1990s onwards. While film has always been closely associated with the process of memory, this book investigates new models of memory in artists’ remediation of film with video and other intermedial aesthetics. Beginning with a chapter on the theorization of memory and the moving image and the diverse genealogies of artists’ film and video, the following chapters identify five different mnemonic modes in artists’ moving image: critical nostalgia, database narrative, the ‘echo-chamber’, documentary fiction and mediatized memories. Stan Douglas, Steve McQueen, Runa Islam, Mark Leckey and Elizabeth Price are of a generation that has lived through the transition from analogue to digital. Their emphasis on the nuances of intermediality indicates the extent to which we remember through media.
Author(s): Sarah Durcan
Series: Experimental Film and Artists’ Moving Image
Edition: 1
Publisher: Palgrave Macmillan
Year: 2020
Language: English
Pages: 260
Acknowledgements
Contents
List of Figures
1 Introduction
Bibliography
2 Memory and Intermediality
2.1 Memory and the Moving Image
Concepts of Memory
Bergson and Virtual Memory
The Experience of Memory
‘Bergsonian Cinema’
2.2 Intermediality: Remembering Film Through Video
Film, Video and the ‘Post-medium Condition’
Intermedial Art and Cinema
‘Border-Hoppers’: Practices Between Art and Cinema
Bibliography
3 Critical Nostalgia
3.1 Chantal Akerman: Film as an Act of Memory
D’Est: Memory and History
D’Est: au bord de la fiction (1995)
3.2 Stan Douglas: The Return of the Past
3.3 The Cinematic
‘Cinéma, Cinéma’ (1999)
Bibliography
4 Database Narrative
4.1 Stan Douglas: Inconsolable Memories (2005)
4.2 Memories of Film
Hiroshima, mon amour
Memorias del subdesarrollo
4.3 Archiving Cinema
Bibliography
5 The Echo-Chamber
5.1 Replay: Multiple Temporalities in Steve McQueen’s Video Installations
Five Easy Pieces (1995)
Film Time
Deadpan (1997)
5.2 Runa Islam’s Echo-Chambers
The Temporality of the Afterimage
Turn (Gaze of Orpheus) (1998)
Tuin (1998) and Martha (1973)
Fassbinder’s Martha
Film in the Gallery: Body Press (1970–1972)
Be the First to See What You See as You See It (2004)
Bibliography
6 Documentary Fiction
6.1 From Site to Scenario: Pierre Huyghe
Remake (1994–1995)
Les Incivils (the Uncivilised) (1995)
Filming the Real as Cinema
Streamside Day Follies (2003)
Streamside Day
6.2 Edited Memories: Omer Fast
6.3 Mise-en-Scène: Clemens von Wedemeyer
Bibliography
7 Mediatized Memories
7.1 Memories of Media: Mark Leckey and Lucy Raven
Dream English Kid 1964–1999 AD (2015)
The Deccan Trap (2015)
7.2 Black-and-White Images: Jaki Irvine, James Richards and Elizabeth Price
If the Ground Should Open (2016)
Radio at Night (2015)
USER GROUP DISCO (2009)
THE WOOLWORTHS CHOIR OF 1979 (2012)
Bibliography
8 Conclusion: ‘Inconsolable Memory’
Bibliography
Index
