The Magic of Shadows-Reference-Cited by-同舟云学术

The Magic of Shadows

Published:2020-10-08 Issue: Volume: Page:
ISSN:
Container-title:Theorizing Film Through Contemporary Art
language:
Short-container-title:

Author:

Murphy Jill¹

Affiliation:

1. the Editorial Board of Alphaville

Abstract

This chapter examines how William Kentridge develops his investigation of Plato’s allegory in More Sweetly Play the Dance (2015), unravelling it and testing the limits of his commitment to it. It is proposed that Kentridge’s use of pre-cinematic techniques to conceal the image and keep it at a distance reflects Jean-Luc Nancy’s understanding of the image as distanced and separate. Nancean thinking can work in conjunction with the artist’s imagery and conceptual logic because it considers the personal and corporeal in conjunction with community and commonality, in other words, how we coexist in the world. The Nancean singular plural is visualised in Kentridge’s winding procession in which singular and plural coexist in a spaced intimacy.

Publisher

Amsterdam University Press

Reference28 articles.

1. Bhabha, Homi K., Introduction. The Charles Eliot Norton Lecture Series, ‘Drawing Lesson 1: In Praise of Shadows’, Harvard University, 20 March 2012 https://www.youtube.com/watch?v=cdKkmSqYTE8&feature=youtu.be [accessed 27 July 2020].

2. Bhabha, Homi K., ‘The Rights of Strangers’, in William Kentridge Thick Time, ed. by Iwona Blazwick and Sabine Breitwieser (London: Whitechapel Gallery, 2016), pp. 129–135.

3. Cavell, Stanley, The World Viewed: Reflections on the Ontology of Film (Cambridge, MA: Harvard University Press, 1979).

4. Christov-Bakargiev, Carolyn, ‘Carolyn Christov-Bakargiev in Conversation with William Kentridge’, in William Kentridge, ed. by Rosalind Krauss (Cambridge, MA: MIT Press, 2017), pp. 1–24.

5. De Jong, Ferdinand, ‘Archive of Darkness: William Kentridge’s Black Box/Chambre Noire’, African Arts, 51 (Spring 2018), 10-23, DOI: https://doi.org/10.1162/AFAR_a_00389.