Post-Cinematic Unframing-Reference-Cited by-同舟云学术

Post-Cinematic Unframing

Published:2020-10-08 Issue: Volume: Page:
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Container-title:Theorizing Film Through Contemporary Art
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Author:

Åkervall Lisa¹

Affiliation:

1. the University of Gothenburg

Abstract

What becomes of the frame in an era of post-cinema? This chapter explores that question and possible answers as suggested by two exemplary post-cinematic moving-image works, Camille Henrot’s single-channel video installation Grosse Fatigue (2013) and Kevin B. Lee’s video essay Transformers: The Premake (2014). The proliferation of frames in these works enacts an itinerary of the aesthetic strategy I call ‘post-cinematic unframing’ that particularly comes to the fore when framing is explicitly thematised – as it is, for example, when pop-up bubbles are superimposed on a scene to display characters’ text messaging, or by superimposing, stacking, juxtaposing, and collaging images.

Publisher

Amsterdam University Press

Reference40 articles.

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2. Åkervall, Lisa, ‘Networked Selves: Ryan Trecartin and Lizzie Fitch’s Postcinematic Aesthetics’, Screen, 57 (Spring 2016), 35–51, DOI: https://doi.org/10.1093/screen/hjw004.

3. Bazin, André, ‘Painting and Cinema’, in What is Cinema?, trans. by Hugh Gray (Berkeley: University of California Press, 1970), pp. 164–172.

4. Benjamin, Walter, ‘The Work of Art in the Age of Its Technological Reproducibility [First Version]’, trans. by Michael W. Jennings, Grey Room, 39 (2010), 11–38, DOI: https://doi.org/10.1162/grey.2010.1.39.11.

5. Bonitzer, Pascal, ‘Deframings’, Cahiers du cinéma, Volume Four: 1973–1978: History, Ideology, Cultural Struggle, ed. by David Wilson and trans. by Chris Darke (London: Routledge, 2000), pp. 197–203.

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1. Gooey Media;2023-08-10