Film, Art, New Media: Museum Without Walls?

359 Pages·2012·8.955 MB·English

by  Angela Dalle Vacche

Film, Art, New Media
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Also by Angela Dalle Vacche
THE BODY IN THE MIRROR: Shapes of History in Italian Cinema
CINEMA AND PAINTING: How Art is Used in Film
DIVA: Defiance and Passion in Early Italian Cinema
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Film, Art, New Media
Museum Without Walls?
Edited by
Angela Dalle Vacche
Professor of Film Studies, Georgia Institute of Technology, USA
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Introduction, selection and editorial matter © Angela Dalle Vacche 2012
Foreword © Brigitte Peucker 2012
Individual chapters © Contributors 2012
All rights reserved. No reproduction, copy or transmission of this
publication may be made without written permission.
No portion of this publication may be reproduced, copied or transmitted
save with written permission or in accordance with the provisions of the
Copyright, Designs and Patents Act 1988, or under the terms of any licence
permitting limited copying issued by the Copyright Licensing Agency,
Saffron House, 6–10 Kirby Street, London EC1N 8TS.
Any person who does any unauthorized act in relation to this publication
may be liable to criminal prosecution and civil claims for damages.
The authors have asserted their rights to be identified as the authors of this
work in accordance with the Copyright, Designs and Patents Act 1988.
First published 2012 by
PALGRAVE MACMILLAN
Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited,
registered in England, company number 785998, of Houndmills, Basingstoke,
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ISBN 978–0–230–27292–7
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A catalogue record for this book is available from the British Library.
A catalog record for this book is available from the Library of Congress.
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Printed and bound in Great Britain by
CPI Antony Rowe, Chippenham and Eastbourne
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Contents
List of Figures vii
Foreword x
Brigitte Peucker
Acknowledgments xv
Notes on Contributors xviii
1 Introduction: A Cosmology of Contingency 1
Angela Dalle Vacche
Part I Early Cinema
2 The Artist’s Studio: The Affair of Art and Film 23
Lynda Nead
3 Cézanne and the Lumière Brothers 39
Angela Dalle Vacche
4 The Medium is a Muscle: Abstraction in
Early Film, Dance, Painting 57
Nell Andrew
Part II Film Theory
5 Vertov and the Line: Art, Socialization, Collaboration 81
John MacKay
6 Quoting Motion: The Frame, the Shot, and
Digital Video 97
Trond Lundemo
7 Malraux, Benjamin, Bazin: A Triangle of
Hope for Cinema 115
Dudley Andrew
8 Poetic Density, Ontic Weight: Post- Photographic
Depiction in Victor Erice’s Dream of Light 141
Simon Dixon
Part III Visual Studies, Art History, Film
9 Of the Face, In Reticence 159
Noa Steimatsky
v
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vi Contents
10 Remapping the Rural: The Ideological
Geographies of Strapaese 178
Lara Pucci
Part IV Painters and Filmmakers
11 Artistic Encounters: J ean- Marie Straub,
Danièle Huillet, and Cézanne 199
Sally Shafto
12 Two- Way Mirror: Francis Bacon and the
Deformation of Film 221
Susan Felleman
Part V Film, Museum, New Media
13 A Disturbing Presence? Scenes from the
History of Film in the Museum 241
Ian Christie
14 Elegy, Eulogy, and the Utopia of
Restoration—Alexander Sokurov’s Russian Ark 256
Jeremi Szaniawski
15 Museums as Laboratories of Change:
The Case for the Moving Image 278
François Penz
16 Right Here … Right Now … Art Gone Live! 301
Gavin Hogben
Index 321
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List of Figures
2.1 Thomas Edison, The Artist’s Dilemma, 1901. Film stills.
Courtesy: Library of Congress, Motion Picture,
Broadcasting and Recorded Sound Division 26
2.2 Edward Quinn, portrait of Picasso taken during the filming
of Le Mystère Picasso, from E. Quinn, Picasso: Photographs
from 1951–1972 (New York: Barron’s, 1980), fig. 66 29
2.3 H enri- Georges Clouzot, Le Mystère Picasso, 1956. Film still.
Filmsonor. Photo courtesy: BFI stills 32
3.1 Paul Cézanne, The Card Players, 1890–95. Musée d’Orsay,
Paris. Photo credit: Erich Lessing/Art Resource, New York 40
3.2 Partie d’écarté (Cat. Lumière N°73). Louis Lumière,
France – La Ciotat, 1896. © Association frères Lumière 41
3.3 Olympe Aguado de las Marismas, Card Players, c. 1860.
The Museum of Modern Art, New York, Suzanne Winsberg
Collection. Gift of Suzanne Winsberg. Photo credit: Digital
Image © The Museum of Modern Art/Licensed by
SCALA/Art Resource, New York 42
3.4 Page of eight shadow silhouette hand portraits by Trewey:
Thiers, Gladstone, Bismarck, Alexander III, Gambretta,
Salisbury, Crispi, and Zola, 1895. Photo courtesy: Library
of Congress 49
4.1 Isaiah West Taber, Photograph of Loie Fuller. Musée
d’Orsay, Paris. Image © Réunion des Musées Nationaux/
Art Resource, New York 62
4.2 Auguste and Louis Lumière, Danse Serpentine (Serpentine
Dance), 1896. Film Still 63
4.3 Édouard Vuillard, The Album, 1895. The Metropolitan
Museum of Art, New York, Walter H. and Leonore
Annenberg Collection, partial gift of Walter H. and
Leonore Annenberg, 2000 (2000.93.2). Artwork © 2010
Artists Rights Society (ARS), New York/ADAGP, Paris.
Image © The Metropolitan Museum of Art, New York/Art
Resource, New York 65
vii
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viii List of Figures
4.4 Marcel- Louis Baugniet, Photograph of Akarova, with
costume and backdrop by M arcel-L ouis Baugniet, 1923.
Archives d’Architecture Moderne, Bruxelles. Photo © 2010
Artists Rights Society (ARS), New York/SABAM, Brussels 69
4.5 Marcel- Louis Baugniet, Statisme, 1925. Private Collection.
Artwork © 2010 Artists Rights Society (ARS), New York/
SABAM, Brussels 71
5.1 Animated (spinning) intertitle constructed by Aleksandr
Rodchenko on the basis of an earlier sculptural experiment
for Dziga Vertov’s Kino- Pravda 14 (1922) 83
5.2 Two stills from Kino- Eye (1924) 87
5.3 Two works by Aleksandr Rodchenko—on the left, an
untitled linear construction in pen and ink on paper
(1920); on the right, a lithograph advertisement,
constructed in Rodchenko’s rigorously symmetrical and
modular manner of the mid-1920s, for Vertov’s Kino- Eye
(1924) 89
5.4 Two stills from Kino- Eye (1924) 92
6.1 Dziga Vertov, editing diagram for Man with a Movie Camera
(1929): the hair salon sequence. http://www.cinemetrics.
lv/vertov2.php 104
8.1 Dream of Light (1992), by Victor Erice (film still) 145
8.2 Dream of Light (1992), by Victor Erice (film still) 152
10.1 Mino Maccari, Strapaese e stracittà (Supercountry and
supercity), woodcut, published in Il Selvaggio,
30 December 1929, reproduced in 1976 facsimile, vol. 3,
p. 61 (© DACS 2011, © V&A Images/Victoria and Albert
Museum, London 179
10.2 Ardengo Soffici, Campi e colline (Fields and hills), 1925, oil
on panel, 61.5 (cid:2) 47 cm, Galleria Nazionale d’Arte Moderna,
Rome (Reproduced with permission of Caterina Soffici,
and the Ministero per i Beni e le Attività Culturali,
photo: Alessandro Vasari) 183
10.3 Terra madre (Mother earth) dir. Alessandro Blasetti, 1931.
Set photograph (reproduced with permission of the
Archivio Fotografico – Cineteca del Comune di Bologna) 185
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List of Figures ix
11.1 Page from Straub- Huillet script for Une Visite au Louvre,
2004 205
11.2 Cézanne, Old Woman with a Rosary, 1896, National Gallery
of London; (r) Still from Renoir film Madame Bovary, 1933 206
11.3 Mont Sainte-V ictoire, still from S traub- Huillet film,
Cézanne, 1989 207
11.4 Mount Aetna, still from S traub-H uillet film, The Death of
Empedocles, 1987 208
12.1 Head VI, 1949 (oil on canvas) by Francis Bacon. Arts
Council Collection, Southbank Centre, London, UK/The
Bridgeman Art Library © 2010 The Estate of Francis Bacon.
All rights reserved/ARS, New York/DACS, London 225
12.2 Battleship Potemkin (1925), by Sergei Eisenstein (film still) 226
12.3 Fireworks (1947), by Kenneth Anger (film still) 234
14.1 Commingling temporalities 257
14.2 Sad fates/sad faces 263
14.3 Breaking the fourth (non-existent) wall 266
15.1 Key frames from Some Words with a Mummy 287
15.2 The camera reveals a succession of narrative layers 290
15.3 Screen and artifacts in the Musée du Quai Branly 294
16.1 Banksy, Exit Through the Gift Shop (2010) 310
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