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Framing PicturesFilm and the Visual Arts$
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Steven Jacobs

Print publication date: 2011

Print ISBN-13: 9780748640171

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748640171.001.0001

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The Video that Knew Too Much: Hitchcock, Contemporary Art and Post-Cinema

The Video that Knew Too Much: Hitchcock, Contemporary Art and Post-Cinema

(p.149) Chapter 6 The Video that Knew Too Much: Hitchcock, Contemporary Art and Post-Cinema
Framing Pictures

Steven Jacobs

Edinburgh University Press

While all previous chapters discuss art in film, the paragraphs dealing with the ‘cinematic’ in contemporary photography and video art invert this relation by focusing on film in art. This is also the scope of the sixth and last chapter, which discusses the omnipresence of the filmic image in contemporary art museums and exhibitions. Not coincidentally, the conquest of the museum by the projected image coincided with the notions of the ‘death of cinema’ and the age of ‘post-cinema.’ Such ideas were particularly expressed by Godard in his Histoire(s) du cinéma, which presented itself not only as a reflection on the relations between film and history but also as an investigation of the relation between cinema and the other arts, especially the pictorial tradition. This chapter shows how modernist cinema found refuge in the museum, where it metamorphosed into new phenomena such as video art or film installations. In particular, this chapter focuses on the ways artists have appropriated the films of Hitchcock.

Keywords:   Video Art, Cinematic Turn, Post-Cinema, Histoire(s) du cinéma, Alfred Hitchcock, Contemporary Art, Black Box, Film Installation, Laura Mulvey

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