MILLENNIUM FILM JOURNAL最新文献

{"title":"Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles","authors":"Patrick Ellis","doi":"10.5860/choice.51-0659","DOIUrl":"https://doi.org/10.5860/choice.51-0659","url":null,"abstract":"","PeriodicalId":44193,"journal":{"name":"MILLENNIUM FILM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.9,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71142589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Installation and the Moving Image","authors":"C. Kennedy","doi":"10.5860/choice.192998","DOIUrl":"https://doi.org/10.5860/choice.192998","url":null,"abstract":"Installation and the Moving Image Catherine Elwes, Wallflower Press, 2015Since at least the Sixties, there has been a large divide between artists who made film and video for the gallery and those who made it for the cinema. This divide could be broadly characterised as indifference/ ignorance of the gallery artists towards the cinema artists and suspicion/jealousy flowing the opposite way, with side skirmishes between the materialists of film and the pluralists of video. A large frustration on the cinema side has been a sense of the ignorance or even duplication of history and a disregard for the dialogue that has developed over the course of that history on the part of the art market.Catherine Elwes' new book is a helpful corrective for some of these divisions. As a survey of the artist moving image, the most remarkable thing is that she writes a wide path into the history of the installation. Early on in the book, she claims that she is not describing a trajectory that brings everything together, \"arriving triumphant at the high renaissance of today's digital gallery installations\". Rather, anyone approaching this book as a primer on installation art will instead receive a high degree of insight beyond the gallery canon. Elwes first discusses the impact of architecture, painting, sculpture and performance on how artists deal with space, object and time-, which are logical but often underplayed antecedents to installation. This sets the stage for a remarkably extended tour of film history, complete with a thorough discussion of structural film and its connection with expanded cinema-both of which, through their polemics or ephemerality, were originally positioned quite opposite to the gallery project (ironically, expanded cinema- like performance-is often the history that the current art market seems most interested in reclaiming). Most of Elwes' focus is on disciplinary practices, but she devotes a strong chapter to the longstanding debate on spectatorship. She describes various theories of spectatorship, investigates the central gallery/cinema argument about whether the ambulant or sitting spectator has more power, and briefly suggests that cognitive theory may provide new answers to these ongoing questions.As mentioned, a large majority of the book does not describe much in the way of blue chip installation art (although Bill Viola and Douglas Gordon do get some play), instead focusing on an array of film and video sub-disciplines that exists outside the gallery context. Even contemporary gallery transplants like Anthony McCall are linked to the role his early work had to the cinematic context. …","PeriodicalId":44193,"journal":{"name":"MILLENNIUM FILM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.9,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71029417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MOTION(LESS) PICTURES: The Cinema of Stasis","authors":"Grahame Weinbren","doi":"10.5860/choice.191020","DOIUrl":"https://doi.org/10.5860/choice.191020","url":null,"abstract":"MOTION(LESS) PICTURES: The Cinema of Stasis Justin Remes Columbia University Press, 2015Justin Remes' Motion(less) Pictures: The Cinema of Stasis is built around close studies of four films, with numerous other examples drawn from cinema and related art forms throughout the book. The key films are: Empire (1964) by Andy Warhol, Disappearing Music for Face (1966) by George Maciunas and Mieko Shiomi, So Is This (1982) by Michael Snow, and Blue (1993) by Derek Jarman. One of the refreshing aspects of Remes' project is its inclusiveness. Each of the four films is usually understood to inhabit a distinct area of culture: Empire as part of Warhol's Art World oeuvre, Disappearing Music . . . as an example of the Fluxus art movement, Snow's work as emerging from the splendid ghetto of avant-garde film, and Blue as sheltered by the umbrella of European Art Film. These categorizations often determine how and where each work is exhibited. Placing the four together in one volume is a bold gesture, almost as radical as presenting them in a single exhibition.Throughout the book, Remes relies on some of the well-known ideas developed in Ludwig Wittgenstein's later writings, centered around the philosopher's recognition of the suppleness of everyday language. Cardinal concepts of Philosophical Investigations include the language game and family resemblance, descriptions of the workings of language that challenge strict definitions and fixed rules, which are invariably undermined by exceptions that must be accounted for. Thus Remes' description of static films as \"motion pictures without motion\" is by no means a definition, but rather a starting point, with family resemblances between the motion(less) pictures discussed emerging as the study unfolds. However, Remes delays an acknowledgement of his Wittgensteinian underpinnings until the chapter on Snow's So Is This, more than half way through the text. Had he introduced Wittgenstein's insights explicitly as a foundation of his approach, he could have bypassed his seemingly endless disposal of Noel Carroll's absurd definition of film, simply by pointing out that academic attempts at watertight definitions of terms that function perfectly well in daily discourse are unnecessary distractions yielding zero insight. A major weakness of the book is that Remes gets caught up several times throughout the text in battling, and easily demolishing, such straw men.The author's willingness to engage in these one-sided disputes undercuts his laudatory bottom-up approach, whereby his analyses proceed from a detailed description of a work and his own responses to it. Rejecting a causative, linear, or canonistic historical perspective, The Cinema of Stasis describes artists' moving image as an area of creative exploration by identifying the drives and intentions that animate the makers, as well as analyzing in some detail what a viewer might gain from the works-namely a spectrum of intellectual, expressive, entertaining and expan","PeriodicalId":44193,"journal":{"name":"MILLENNIUM FILM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.9,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71028149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Territory of Images","authors":"Rachel Stevens","doi":"10.4135/9781446269572.n2","DOIUrl":"https://doi.org/10.4135/9781446269572.n2","url":null,"abstract":"THE TERRITORY OF IMAGES Harun Farocki, Images of War at a Distance Museum of Modern Art, New York, June 29, 2011 -January 2, 2012 My first encounter with the work of Harun Farocki was a mediated representation -Jill Godmilow's What Farocki Taught (1998). The film is a shot-byshot remake of Farocki's hard-hitting Inextinguishable Fire (1969). In Godmilow's film, Farocki's systematic unpacking of the making of napalm by unwitting workers at the Dow Chemical factory presented as a direct address was remade in color, in English and with vintage, rather than contemporary, outfits. What Farocki Taught demonstrates Godmilow's admiration for Farocki's work and invokes the original film's explicit politics but it also asks questions: how do Farocki's images operate and where does the experience of documentary truth lie? The show at MoMA is a cause for celebration -not only does it give access to much of Farocki's work in a video archive, and ample space to not one, but three different bodies of installation work, but signals the fact that the museum has undertaken to collect nearly all of his work. This unprecedented opportunity to watch so many pieces side by side presents an intimidating proposition if seeking to understand how his images operate, but a welcoming one for his many ardent fans in the media art and film worlds. An Image; Videograms of a Revolution; Images of the World and the Inscription of War, How to Live in the FRG; and In Comparison are among the many films available on monitors to play on demand. Much of the work involves serious research and the collection of archival material. Farocki is particularly fond of instructional scenarios (such as a demonstration of how to facilitate the birthing of a baby with a prosthetic pelvis and a resizable vaginal opening) and documenting pedagogical role-playing (play therapy, job interview practice sessions) in which social norms and ideologies are transmitted from one party to another. Despite the sometimes slow pace and stark structure that defies a more conventional narrative arc, Farocki's dispassionate and systematic look at everyday scenarios are not without humor or emotion. These scenarios often appear themselves to be performed quite dispassionately, but signs such as the sinking facial expression of the job interviewee, the Playboy model's stoic but perceptible discomfort as she gamely holds her pose through a series of tedious adjustments, and the halting enthusiasm of die Romanian citizen negotiating control of die television station as the dust of the revolution tries to settle, reveal an unruly humanity in the subjects, while also tending to implicate the voyeuristic impulses of the unsuspecting art viewer. Farocki's work seems to be always busy 'unmaking' representations, questioning documents and re-examining rote behaviors. In one work after another, he demonstrates that if you strip away the inessential and look at something with a fixed and steady gaze, it becomes strange. And i","PeriodicalId":44193,"journal":{"name":"MILLENNIUM FILM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.9,"publicationDate":"2012-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70570136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Optic Antics: The Cinema of Ken Jacobs","authors":"Ken Eisenstein","doi":"10.5860/choice.49-0171","DOIUrl":"https://doi.org/10.5860/choice.49-0171","url":null,"abstract":"ON TIC | TIC ON OPTIC ANTICS: THE CINEMA OF KEN JACOBS You've probably heard that you shouldn't judge a book by its cover. In the case of Optic Antics: The Cinema of Ken Jacobs (Edited by Michele Pierson, David E. James, and Paul Arthur, Oxford University Press, 20 1 1 ) feel free to do so. Donned by a portion of a wonderful 1967 photograph of Ken and Flo, taken by none other than Michael Snow, the front of this volume, edited by Michele Pierson, David E. James, and (posthumously) Paul Arthur, heralds intricate fascination, loudly! The image as it appears is nearly bisected by a post between a pair of windows. Ken, standing in front of them and on the right, with his head, shouldet, and chest in profile, holds out a mirror that stretches across to the other, better, half. Since that floating pane catches Flo's profil perdu (from her shoulder up), the left hand side belongs to her - doubly so, as a sliver of her arm anchors the bottom corner beside its reflection. Turn the book over, passing a spine of lintel and lace, and, thanks to designer Elsie Lyons' folding of Snow's original onto the back cover, find Flo's full visage alone, as if you stepped into Ken's mirror and circled round its feature. At Optic Antics' center (chapters 11 and 12 of 22) sits another Flo pair. In \"Flo Talks! \", a 2008 interview conducted by Amy Taubin, \"the producer of Ken Jacobs' cinema,\" as Taubin calls her, relates the struggles she had with her parents' attachment to the 'antiseptic'; the importance of Fred Astaire and Piet Mondrian to her life as person and painter; her experiences at RISD; meeting Ken in the summer of 1961; raising children and making art with him. This entry is preceded by \"Some Jacobs Family Photos,\" a set often specimens curated and captioned by Flo. One of them is the Snow shot that in altered form (slightly cropped and majorly redistributed) adorns the book's exterior. This repetition and reiteration, this double movement from surface to deep middle, this churning of inside out, captures a major strategy of Jacobs' technique. The dissection in Tom, Tom, The Piper's Son (1969, revised 1971), the shuffling in The Doctor's Dream (1978), the vibrating 'eternalisms' of the digital videos (1999- ) and the flickering ones of the Nervous System (1975-2000) and Nervous Magic Lantern (1990- ) performances, and the further ephemerality of 'the Apparition Theater of New York (1967-1982), all testify to the game that Jacobs continuously initiates: \"play is the confident abandonment and restoring of balance.\"1 Jacobs once referred to his stabilizer, the \"triumvirate of persons that supports\" him most crucially (mother Janice Rosenthal, who died at 27; painting teacher Hans Hofmann; \"collaborator\" Flo), as his \"tripod.\"2 Indeed, he does seem to be a threelegged creature. Unique associations with Millennium Film Workshop, Binghamton University, and the Collective for Living Cinema, as well as a career that straddles film, digital and theater, exemplify two ot","PeriodicalId":44193,"journal":{"name":"MILLENNIUM FILM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.9,"publicationDate":"2012-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71134213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Expanded Cinema in Los Angeles: The Single Wing Turquoise Bird","authors":"D. E. James","doi":"10.5749/minnesota/9780816677252.003.0009","DOIUrl":"https://doi.org/10.5749/minnesota/9780816677252.003.0009","url":null,"abstract":"During the last years of the 1960s and the first of the 1970s-the twilight of the psychedelic era-the premier light show in Los Angeles was the Single Wing Turquoise Bird.1 Long before this period, the city had seen several projects involving the projection of abstract light, \"color organs\" and similar apparatuses, versions of which date back at least to the 1720s when Louis-Bertrand Castel proposed that color transparencies could be linked to the keys of a harpsichord. In the early 1920s, Stanton MacDonald-Wright, a painter and self-styled \"Color Motion Picturist,\" began to research abstract color projection and eventually made several kinetic light projectors, one of which was used in several theatrical productions in Santa Monica in 1927. Probably the most sophisticated of such light machines was Thomas Wilfred's Clavilux, built in the early 1920s; it consisted of a cabinet in which revolving discs and mirrors could be \"played\" so as to rear-project light onto a two-foot square screen. Wilfred wrote compositions for it that he called lumia and performed them publicly. seeing a performance when he was recovering from a syphilitic eye-infection, Los Angeles avant-garde filmmaker Dudley Murphy found it \"one of the most ecstatic experiences of [his] life,\" and when artist Sara Kathryn Arledge saw Wilfred perform in Pasadena in 1928, she was inspired to become involved in time-based visual art and eventually to make important avant-garde films.2 Oskar Fischinger, who shared Wilfred's mystical bent, worked in a similar vein. In 1950 he built his \"lumigraph,\" an upright wooden frame, about five feet high containing light sources that project inwards onto an open area three to four feet square holding an elastic white screen just behind the light sources. In a darkened room, the screen is invisible, but any area of it lightly pushed forward by the player catches the light, so that the player may spontaneously shape light in space. Inspired by both the technological and the socio-cultural possibilities of its own time, the Single Wing Turquoise Bird expanded and elaborated such intersections between avant-garde film and visual music. First formed in the spring of 1968 to accompany rock concerts at the Shrine Auditorium and Exposition Hall in Los Angeles, the light show several times reconfigured its membership and its performance modes, freeing itself from supplementarity to the rock concerts. Developing many different technologies and sources of both imagery and abstract light, it evolved into an autonomous multi-media unit that innovated the collectively improvised, real-time composition of projected light. The group was able to maintain itself for over five years, but eventually several of its members became involved with cinematic projects of a more traditional kind and, though they still did occasional performances for several years after, the Single Wing effectively dissolved into a theatrical film exhibition company in 1973. In fall 1967, John V","PeriodicalId":44193,"journal":{"name":"MILLENNIUM FILM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.9,"publicationDate":"2005-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70950380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}