Fiche du document
20 novembre 2021
- handle: 10670/1.mrv9z3
- hal: hal-04373166
- doi: 10.35074/GJ.2021.20.91.002
Ce document est lié à :
info:eu-repo/semantics/altIdentifier/doi/10.35074/GJ.2021.20.91.002
Mots-clés
Contemporary Art Mark Lewis Installation Art Cinema Cinema - Techniques Photography apparatus dispositive temporality punctumSujets proches
Feature films--History and criticism Movies Films Moving-pictures Cinema MarkCiter ce document
Christa Blümlinger, « Framing, Masking, Revealing: Mark Lewis's Regime of Projection », HAL-SHS : histoire de l'art, ID : 10.35074/GJ.2021.20.91.002
Métriques
Partage / Export
Résumé
This article analyzes the complex and plethoric video artist Mark Lewis and his Willesden Launderette Reverse Dolly Pan Right Friday Prayers (2010, 5’), highlighting how he works with cinema theories and devices. The article demonstrates that the paradoxical allusions that Lewis’s work makes toward the ‘classical’ dispositif of cinematic projection shine a light and at the same time challenge cinematic theories and theories of perception. Moreover, the use of specifically cinematographic techniques such as the dolly or the rear projection screened in the museum context, and in a loop, displays the projected image in its hybridity and, more broadly, celebrates the cinematic dispositif while refusing to view it in a nostalgic way.