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Douglas Gordon and Cinematic Audiovisuality in the Age of Television: Experiencing the Experience of Cinema

机译:道格拉斯·戈登(Douglas Gordon)和电视时代的电影视听:体验电影体验

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Focusing on the work of Douglas Gordon, this article explores some of the ways in which contemporary arts practice engages with cinema in a televisual age. Whenever one media technology loses its dominance, is eclipsed or replaced by another, we witness a moment during which the passing technology becomes fetishized - a moment at which the status of its images and sounds and even their perceived qualities begin to change. Within the context of contemporary arts practice, the images of a once popular form of cinema have thus begun to take on the aura of the art object, read and experienced in new ways.Understandably, much of the critical reaction to Douglas Gordon and Philippe Parreno's Zidane: A 21st Century Portrait has focused on its status as a film about football, and as a portrait of one of the sport's stars. The film might, however, also be read as a meditation on cinematic affect and cinematic materiality, and in this respect sits comfortably with Gordon's ongoing creative engagement with cinema, evidenced in works such as 24 Hour Psycho. While much of Gordon's video work has engaged with the cinematic image through the re-articulation of Hollywood films, in this article I examine the ways in which Zidane creates a dialectic between cinema and television that serves to foreground cinematic materiality and cinematic experience. Reconnecting Zidane with Gordon's earlier work, my aim here is to consider how cinematic experience and the materiality that serves as the foundation of that experience might in themselves be understood to constitute a fundamental element of Gordon's artworks.View full textDownload full textKeywordsaudiovisuality, cinema, cinematic, Douglas Gordon, materiality, spectatorship, television, ZidaneRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; var addthis_config = {"data_track_addressbar":true,"ui_click":true}; Add to shortlist Link Permalink http://dx.doi.org/10.1080/14714787.2012.641780
机译:本文以道格拉斯·戈登(Douglas Gordon)的作品为重点,探讨了在电视时代,当代艺术实践与电影互动的一些方式。每当一种媒体技术失去统治地位,被另一种媒体黯然失色或被另一种媒体技术取代时,我们都会目睹传递技术迷恋的时刻-影像和声音的状态甚至其感知的质量开始发生变化的时刻。因此,在当代艺术实践的背景下,曾经流行的电影形式的影像已开始以新的方式来呈现,阅读和体验艺术对象的光环。可理解的是,对道格拉斯·戈登(Douglas Gordon)和菲利普·帕雷诺(Philippe Parreno)的批评很多齐达内:《二十一世纪肖像》一直专注于其作为足球电影的肖像以及该运动明星之一的肖像。然而,这部电影也可能被视为对电影情感和电影实质的沉思,在这方面,戈登与电影界的不断创新接触令人安心,这在《 24小时心理》等作品中得到了证明。尽管戈登的许多视频作品都通过好莱坞电影的重新表达而与电影的形象融为一体,但在本文中,我将探讨齐达内在电影和电视之间建立辩证法的方法,以提高电影的物质性和电影体验。将齐达内与戈登的早期作品重新联系起来,我的目的是考虑如何将电影体验和作为体验基础的物质本身理解为戈登作品的基本要素。查看全文下载全文关键字视听,电影,电影,道格拉斯·戈登(Douglas Gordon),重要性,观众,电视,ZidaneRelated var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”, pubid:“ ra-4dff56cd6bb1830b”}; var addthis_config = {“ data_track_addressbar”:true,“ ui_click”:true};添加到候选列表链接永久链接http://dx.doi.org/10.1080/14714787.2012.641780

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