Documents of utopia : the politics of experimental documentary PDF
Preview Documents of utopia : the politics of experimental documentary
DOCUMENTS OF UTOPIA Nonfictions is dedicated to expanding and deepening the range of contemporary documentary studies. It aims to engage in the theoretical conversation about documentaries, open new areas of scholarship, and recover lost or marginalised histories. Other titles in the Nonfictions series: Direct Cinema: Observational Documentary and the Politics of the Sixties by Dave Saunders Projecting Migration: Transcultural Documentary Practice edited by Alan Grossman and Aine O’Brien The Image and the Witness: Trauma, Memory and Visual Culture edited by Frances Guerin and Roger Hallas Films of Fact: A History of Science in Documentary Films and Television by Timothy Boon Building Bridges: The Cinema of Jean Rouch edited by Joram ten Brink Vision On: Film, Television and the Arts in Britain by John Wyver Chavez: The Revolution Will Not Be Televised – A Case Study of Politics and the Media by Rod Stoneman Documentary Display: Re-Viewing Nonfiction Film and Video by Keith Beattie The Personal Camera: Subjective Cinema and the Essay Film by Laura Rascaroli The Cinema of Me: The Self and Subjectivity in First Person Documentary by Alisa Lebow Killer Images: Documentary Film, Memory and the Performance of Violence edited by Joram ten Brink and Joshua Oppenheimer Documenting Cityscapes: Urban Change in Contemporary Non-Fiction Film by Iván Villarmea Álvarez. DOCUMENTS OF UTOPIA THE POLITICS OF EXPERIMENTAL DOCUMENTARY PAOLO MAGAGNOLI A Wallflower Press Book Published by Columbia University Press Publishers Since 1893 New York • Chichester, West Sussex cup.columbia.edu Copyright © Columbia University Press 2015 All rights reserved. E-ISBN 978-0-231-85077-3 Wallflower Press® is a registered trademark of Columbia University Press A Columbia University Press E-book. CUP would be pleased to hear about your reading experience with this e-book at cup- [email protected]. Cover image: Bubble House (1999) (Courtesy Tacita Dean and Marian Goodman Galley, New York) A complete CIP record is available from the Library of Congress ISBN 978-0-231-17270-7 (cloth : alk. paper) ISBN 978-0-231-17271-4 (pbk. : alk. paper) ISBN 978-0-231-85077-3 (e-book) CONTENTS Acknowledgments Introduction – Nostalgia: Pathalogical and Critical 1 RUINS OF UTOPIA 2 REINVENTING PROPAGANDA FILMS 3 ARCHIVES OF COMMODITIES 4 DIGITAL UTOPIA IN THE POST-INTERNET AGE Epligue – Utopia Now Bibliography Index ACKNOWLEDGMENTS This book would have remained a utopian project itself were it not for the support and guidance of numerous individuals over many years. I have a lot of people to thank, and wholeheartedly so, although limitations of space prevent me from being as specific as I would like. My first debt is to TJ Demos, a remarkable teacher and writer who ignited my interest in contemporary art and the conjunction of art and politics, encouraged me to pursue this subject and offered tremendous inspiration, insight and assistance along the way. I am also grateful to Tamar Garb and Briony Fer, whose strength and enthusiasm have been an inspiration for me throughout all my years as a research student at University College London (UCL). I thank Amna Malik of the Slade School of Fine Art at UCL for offering me some constructive criticism on chapter one. I would also like to thank the faculty members of the Department of History of Art at UCL, where a significant part of this research was developed: Diana Dethloff, Natasha Eaton, Mechthild Fend, Charles Ford, Sarah James, Petra-Lange Berndt, Maria H. Loh, Rose Marie San Juan, Stephanie Schwartz, Frederic Schwartz and Alison Wright. Aspects of this book were presented during the course of its preparation at a diverse range of lectures, symposia and conferences, and it always came away better as a result. I am grateful to all of those who have invited me to present my drafts and to all the audiences and participants at these events. A section of chapter three was presented in a panel on art and obsolescence organised by Richard Taws and Katie Scott at the 2011 Association of Art Historians (AAH) Conference. Chapter four benefitted from my participation as a speaker in the conference ‘The Versatile Image: Photography in the Era of Web 2.0’, which was held at the University of Sunderland in June 2011 and organised by Alexandra Moschovi and Carol McKay. Also, I would like to convey my gratitude to Margaret Iversen for providing unpublished materials on Zoe Leonard and Tacita Dean. I also owe a debt of gratitude to the artists whose work is the subject
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