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Remembering Cinema “Elsewhere”: From Retrospection to Introspection in the Gallery Film
by CATHERINE FOWLER
Abstract: Since 1990 a body of gallery films has remade cinema’s past using remembered rather than memorable images. This essay connects examples such as L’ellipse (Pierre Huyghe, 1998), Deadpan (Steve McQueen, 1997), and Zoo (Salla Tykkä, 2006) to cinephilia and the ideas of Maya Deren, Stanley Cavell, and Victor Burgin, so as to theorize introspective and circumspective uses of cinema’s past that challenge our understanding of “the image” in exciting ways.
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The others were Atom Egoyan (with Juliao Sarmiento), Yervant Gianikian (with Angela Ricci Lucchi), Abbas Kiarostami, David Lynch, and Edward Yang. See Michael Rush, Video Art (London: Thames and Hudson, 2003), 117–118; Catherine Elwes, Video Art: A Guided Tour (London: I. B. Tauris, 2005), 170; and Michael Newman, “Moving Image in the Gallery since 1990,” in Film and Video Art, ed. Stuart Comer (London: Tate Publishing, 2009), 88. It should be noted, however, that none of these commentators separate out different categories of the use of cinema’s past as I do in this essay.
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Film and Art: A Collaboration?
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3 4 5 6 Tanya Leighton, introduction to Art and the Moving Image: A Critical Reader, ed. Leighton (London: Tate / Afterall, 2008), 33. Kerry Brougher, “Hall of Mirrors,” in Art and Film since 1945: Hall of Mirrors, ed. Brougher (Los Angeles: Museum of Contemporary Art, 1996), 23–24. Ibid., 86. Weegee, Naked Hollywood (New York: Pellegrini and Cudahy, 1953); Brougher, “Hall of Mirrors,” 43; Kenneth Anger, Hollywood Babylon: The Legendary Underground Classic of Hollywood’s Darkest and Best Kept Secrets (Phoenix, AZ: Associated Professional Services, 1965).
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The Look Backward 1: Cinema’s Past Was “There” and Is “Delayed” and “Returned.” ?
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On “gallery films” in relation to “cinema films,” see Catherine Fowler, “Room for Experiment: Gallery Films and Vertical Time from Maya Deren to Eija Liisa Ahtila,” Screen 45, no. 4 (2004): 324–343. I take the term “undead” from Thomas Elsaesser, who writes, “Because of its undead nature, the cinema perhaps does not have a history (of periods, styles, modes). It can only have fans, clans and believers, forever gathering to revive a fantasm or a trauma, a memory and an anticipation.” Elsaesser, “Specularity and Engulfment: Francis Ford Coppola and Bram Stoker’s Dracula,” in Contemporary Hollywood Cinema, ed. Steve Neale and Murray Smith (London: Routledge, 1998), 206. See Godard’s Histoire(s) du cinéma (1988–1998) for further discussion of whether cinema is ready to be killed off.
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See Rudolf Arnheim, Film as Art (Berkeley: University of California Press, 1957); Béla Balázs, Béla Balázs: Early Film Theory: Visible Man and the Spirit of Film, trans. Rodney Livingstone (Oxford, UK: Berghahn Books, 2010); and André Bazin, What Is Cinema? vol. 1, trans. Hugh Gray (Berkeley: University of California Press, 1967).
10 Michael Witt, “The Death(s) of Cinema according to Godard,” Screen 40, no. 3 (1999): 335. 11 Raymond Bellour, L’Entre-images: Photo, cinema, video (Paris: Éditions de la Différence, 1990), 11.
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12 Raymond Bellour, “Of an Other Cinema,” in Leighton, Art and the Moving Image, 407. 13 Serge Daney, “The Tracking Shot in Kapo” (1992), Senses of Cinema 30 (January 2004), http://www.sensesof cinema.com/2004/feature-articles/kapo_daney/. 14 Paul Douglas Grant, introduction to Serge Daney, Postcards from the Cinema, trans. Grant (Oxford, UK: Berg, 2007), 4; Daney, “The Tracking Shot in Kapo”; Jean-Christophe Royoux, “The Time of Re-departure: After Cinema, the Cinema of the Subject,” in Leighton, Art and the Moving Image, 340. 15 See Serge Daney, “Falling out of Love,” Sight and Sound 2, no. 3 (1992), 14–16. 16 Clare Stewart, “‘Remembered By’: From Nostalgia to Total Recall,” in Remembrance + the Moving Image, ed. Ross Gibson (Melbourne: Australian Center for the Moving Image, 2003), 12. 17 Paolo Cherchi Usai, The Death of Cinema: History, Cultural Memory and the Digital Dark Age (London: British Film Institute, 2001).
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18 Ibid., 21. 19 D. N. Rodowick, The Virtual Life of Film (Cambridge, MA: Harvard University Press, 2007), 26. 20 Ibid., 28. 21 Ibid., 31. 22 Laura Mulvey, Death 24x a Second: Stillness and the Moving Image (London: Reaktion Books, 2006), 24.
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23 “Return and repetition necessarily involve interrupting the flow of film, delaying its progress, and, in the process, discovering the cinema’s complex relation to time.” Ibid., 8. 24 Ibid., 144. 25 Ibid., 75. 26 Vera Dika, Recycled Culture in Contemporary Art and Film: The Uses of Nostalgia (Cambridge: Cambridge University Press, 2003), 20.
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27 Ibid., 3. 28 Ibid., 27. 29 Ibid., 28. 30 Ibid., 23.
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31 Christian Keathley, Cinephilia and History, or the Wind in the Trees (Bloomington: Indiana University Press, 2006), 33. 32 Ibid.
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33 Jean-Luc Godard, interviewed by Serge July, Libération, May 22, 1980. 34 James S. Williams, “The Signs amongst Us: Jean-Luc Godard’s Histoire(s) du cinéma,” Screen 40, no. 3 (1999): 313. 35 Jonathan Rosenbaum, “Le Vrai coupable: Two Kinds of Criticism in Godard’s Work,” Screen 40, no. 3 (1999): 317. 36 Jacques Rancière, Film Fables, trans. Emiliano Battista (Oxford, UK: Berg, 2006), 172. 37 Ibid., 172–175.
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38 Pierre Huyghe, interviewed in Fabian Stech, J’ai parlé avec Lavier, Annette Messager, Sylvie Fleury, Hirschhorn, Pierre Huyghe, Delvoye, D.G.-F., Hou Hanru, Sophie Calle, Ming, Sans et Bourriaud (Dijon: Presses du Réel), 144. 39 Jaap Guldemond, introduction to Cinéma Cinéma: Contemporary Art and the Cinematic Experience, ed. Marente Bloemheuvel and Jaap Guldemond (Eindhoven, Netherlands: Stedelijk Van Abbemuseum, 1999), 13. 40 Huyghe, interviewed in Stech, J’ai parlé, 145.
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Figure 1. In L’Ellipse (Pierre Huyghe, 1998), an elided moment is filmed twenty years later and projected between the original scenes (Image © Pierre Huyghe 1998; courtesy Marian Goodman Gallery).
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41 Huyghe, quoted in Jean-Christophe Royoux, “Remaking Cinema,” in Bloemheuvel and Guldemond, Cinéma Cinéma, 22. 42 Royoux, “Remaking Cinema,” 23. 43 Maya Deren, “Cinematography: The Creative Use of Reality,” Daedalus (Winter 1960): 154–155.
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44 Victor Burgin, The Remembered Film (London: Reaktion Books, 2004), 70. Despite this admission, Burgin then justifies his discussion of his associations by turning to psychoanalysis, reading these recurring images as essentially about sexual difference. 45 Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA: Harvard University Press, 2002), 226–227. 46 Susan Sontag, “The Decay of Cinema,” New York Times, February 25, 1996. See also Paul Willemen, “Through the Glass Darkly: Cinephilia Reconsidered,” in Looks and Frictions: Essays in Cultural Studies and Film Theory (London: British Film Institute, 1994); Marijke De Valck and Malte Hagener, eds., Cinephilia: Movies, Love and Memory (Amsterdam: University of Amsterdam Press, 2005); and Keathley, Cinephilia and History.
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47 Keathley, Cinephilia and History, 5. 48 Christian Metz, quoted in ibid., 27. 49 Keathley, Cinephilia and History, 128. 50 Stanley Cavell, The World Viewed: Reflections on the Ontology of Film, 2nd ed. (Cambridge, MA: Harvard University Press, 1979), 10. 51 Ibid., 12. 52 Ibid., xii.
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53 Keathley, Cinephilia and History, 152. 54 Cavell, The World Viewed, 17. 55 Burgin, The Remembered Film, 59, 72. 56 Ibid., 67. 57 Ibid., 67–68.
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Figure 2. Steve McQueen’s Deadpan (1997) remakes a remembered moment from Buster Keaton’s Steamboat Bill Jr. (Image © Steve McQueen, 1997; courtesy of the Thomas Dane Gallery).
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58 Steve McQueen, televised interview, UK Channel 4, November 30, 1999. This interview was part of coverage of the Turner Prize, which was awarded to McQueen that year.
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63 Daney, “The Tracking Shot in Kapo.” 64 Royoux, “The Time of Re-departure,” 346.
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65 Ibid.; emphasis mine. 66 Malcolm Turvey, Hal Foster, and Chrissie Iles, “Round Table: The Projected Image in Contemporary Art,” October 104 (Spring 2003): 74.
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