Academic journal article CineAction

Art + Film

Academic journal article CineAction

Art + Film

Article excerpt

The idea for an issue of Cineaction focusing on the intersection of Art and Film came to me as I was reflecting on two shows I saw in the Fall of 2012 at the Power Plant, Toronto's public gallery for contemporary art. The first was Christian Marclay's wildly popular virtuoso 24 hour cinecollage "The Clock" (2010); the second, "Continuous Coverage", consisted of 3 projects--"CNN Concatenated" (2002), "Five Thousand Feet is the Best" (2011), and "Continuity" (2012)--by Omer Fast, an Israeli-born, American-raised artist. Here were two artists working with film in the production of works that could not be categorized as film--works intended for the art gallery rather than the movie theatre which presented challenges to the spectators' act of viewing; indeed, to their understanding of temporal, structural and narrative conventions of film.

Rather than keeping the theme narrow (Artists-who-use-film-to-make-art), I decided to expand it to include all possibilities inherent in the combination of the two terms 'Art' and 'Film'. This issue is the serendipitous result of the initial Call for Papers; the individual articles assembled to present a broad spectrum of approaches and interests.

The first two do in fact deal with the originating idea: Edward Bacal's analysis of the work of artists Sharon Lockhart and Steve McQueen contextualized within avant garde cinema; and Maria San Filippo's observations on film installations by artists Yang Fudong and Omer Fast. Next is a piece by Michael Boughn who offers a fresh perspective on the controversial and much-discussed film Zero Dark Thirty by inserting it into the context of what he calls America's 'War on Art'. …

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