Overview

Discourses of cinephilia old and new have displayed a certain anxiety about opening film up and out to the unprogrammed zones of the museum, a space too dispersed and variable for the invested look. The museumised 'movie', with a spectator who is ambulatory rather than passive, demands a form of attention quite different from the theatrically-projected film or the mobilised platform. Breaking with the modes of intimacy and absorption associated with these more common movie-viewing experiences, galleries have gone public with the extracted, looped or otherwise installed moving image, in everything from its fetishized 35mm form through to the latest participa-tory virtual reality. When kinetic imaging enters the museum, it becomes one among the 'media' in a new way: a time-based artefact under figurative 'reframing' among other modes of picture making, its material parameters investigated as objet rather than dispositif. Garrett Stewart explores the recipro-cal redefinition of both moving images and wall art initiated by this museal estrangement of the 'motion picture'. As the title suggests as well, this often entails a dimension of strained synesthesia in the disjunctures of non-syn-chronised recording. Altogether, curation re-frames both the audiovisual pace and plasticity of the seventh art in the rear-view mirror of media archaeology.

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9781927852095

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Garrett Stewart is the James O. Freedman Professor of Letters at the University of Iowa in Iowa City. He is the author of many books on Victorian fiction, narrative theory, and literary poetics, as well as on film and media studies, including Between Film and Screen: Modernism's Photo Synthesis, Framed Time: Toward a Postfilmic Cinema, and Closed Circuits: Screening Narrative Surveillance.

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