Firing at the Clocks: Cinema, Sampling, and the Cultural Logic of the Late Capitalist Artwork - Archive ouverte HAL Access content directly
Journal Articles Framework, The Journal of Cinema and Media Year : 2013

Firing at the Clocks: Cinema, Sampling, and the Cultural Logic of the Late Capitalist Artwork

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Abstract

Extract In his writing about the medium of the moving image, Walter Benjamin classically emphasized film’s role as modern man’s perceptual training tool, one that was uniquely apt to mediate, through its form as well as its apparatus, the intensified rhythm and shock of an era of accelerated industrialization and urbanization. Hence for the cultural historian and philosopher, the study of film offered key clues for an understanding of the construction of the modern self, its relation to time, and, broadly speaking, art’s contribution to a modern sense of identity and history—all areas of reflection that remain at the forefront of new media theory. As Peter Osborne sums it: Film is, famously, the technology for representation most closely associated with philosophical insight into the mutual and paradoxical constitution of time and the self. For Benjamin, it was the medium in relation to which “all problems of contemporary art find their definitive formulation.” Today, Osborne adds, cinema’s legacy is in evidence in the practice of contemporary artists who, aided by digital technology, are appropriating and manipulating the moving image archive as well as cinema’s techniques and spectatorial apparatus, in what he describes as “a general experimental articulation of technologies of perception and patterns of artistic and social use.” Indeed, in the views of a number of contemporary art historians and art practitioners, the widespread vogue for found footage techniques is one of the ways in which the older medium of cinema is being offered a new lease on life in the museum and gallery. (...)
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hal-02919616 , version 1 (23-08-2020)

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Martine Beugnet. Firing at the Clocks: Cinema, Sampling, and the Cultural Logic of the Late Capitalist Artwork. Framework, The Journal of Cinema and Media , 2013, 54 (2), pp.192. ⟨10.13110/framework.54.2.0192⟩. ⟨hal-02919616⟩
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