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ReFocus: The Films of Pedro CostaProducing and Consuming Contemporary Art Cinema$
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Nuno Barradas Jorge

Print publication date: 2020

Print ISBN-13: 9781474444538

Published to Edinburgh Scholarship Online: September 2020

DOI: 10.3366/edinburgh/9781474444538.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 14 June 2021

Between the Black Box and the White Cube

Between the Black Box and the White Cube

Chapter:
(p.90) Chapter 5 Between the Black Box and the White Cube
Source:
ReFocus: The Films of Pedro Costa
Author(s):

Nuno Barradas Jorge

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474444538.003.0006

Chapter 5 looks at Pedro Costa’s commissioned works by discussing numerous video installations created and displayed within the international art gallery circuit. The chapter contextualizes the approximation of the art gallery to cinema, a medium which increasingly overlaps aesthetic and production processes with contemporary artistic practices. As this chapter argues, the analysis of Costa’s video installations offers a further context to the intertwinement between aesthetics, production and consumption observed elsewhere in his filmic output. These works for the ‘white cube’ rely on aesthetic, authorial and production characteristics that bond them to those exclusively produced for the ‘black box’. This chapter provides comparisons between these works and short films directed by Pedro Costa between 2007 and 2012, such as The Rabbit Hunters, Tarrafal (also produced in 2007), O Nosso Homem (Our Man, 2010) and Lamento da Vida Jovem (Sweet Exorcism, 2012).

Keywords:   White Cube, Short film, Video Installations, Film at the Gallery, Film Commissions

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