Re: how dominant cinema perform other cinemas

From: Adam Hyman (email suppressed)
Date: Fri Oct 23 2009 - 11:14:52 PDT

Ah, you mean you really want scenes that take place in Museums that show
media art. My apologies for my previous misinterpretation

On 10/23/09 10:47 AM, "BAENA DIAZ, FRANCISCO" <email suppressed> wrote:

> YES!
> Dear Flick,
> thank you very much!
> this is just what ít i mean: sequences like this!
> thanks again, it's a great help for me, and, of course, i will mentione you in
> aknowledgements of book!
> (if you remember any more, please tell me)
> cheers,
> FB
> Granada (Spain)
> -----Mensaje original-----
> De: Experimental Film Discussion List en nombre de Flick Harrison
> Enviado el: vie 23/10/2009 19:18
> Para: email suppressed
> Asunto: Re: how dominant cinema perform other cinemas
> There's a fabulous moment in the International (Tom Tykwer dir.,
> starring Clive Owen and Naomi Watts) where the bad guys and good guys
> have a giant destructive shootout in the Guggenheim museum, amidst a
> multi-level, multi-screen projection of a video installation.
> I still can't quite wrap my head around it, since it seems too obvious
> and trite if it's really trying to say that international finance
> rampages through social relations, i.e. bad guys blow up art. Then
> again maybe it's just obvious and trite.
> Much of it can be seen here:
> Maybe the International is too problematic for your purposes, because
> it's dominant cinema that takes aim at capitalist dominance, at least
> internally. I suppose the whole thing is slightly infiltrative and
> viral, since it's basically telling the audience the themes of Empire,
> but the cloak-and-dagger stuff actually undermines the structural
> critique. It fails for the same reason Soderburgh's Kafka fails: it
> goes for the car chase / zombie explanation rather than the grim,
> mundane reality.
> A review from
> "Meanwhile, the singularly crappy but handsomely appointed (and
> Saatchi-approved!) video installation art stopping bullets in the
> Guggenheim rotunda is the work of one Julian Rosefeldt, a "socially
> conscious" Berlin-based artist whose work is grandly theatrical and
> patently obvious in its intent. And yet by existing as scenes "out of
> time" rather than as fully coherent narratives, Rosefeldt's work
> arrogates to itself the "ambiguity" that marks it as serious art.
> (Read Roberta Smith's fine evisceration here (
> .) And so, even creative resistance (like, um, The International
> itself) is caught in the web of late capitalist social relations.
> There is no way out, and Tykwer knows this. He may well be a poseur,
> but at least he's honest."
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.