This book addresses the preoccupation with memory in contemporary artists' moving image installations. It situates artists' moving image in relation to the transformations of digitalization as hybrid intermedial combinations of analogue film, video and digital video emerge from mid 1990s onwards. While film has always been closely associated with the process of memory, this book investigates new models of memory in artists' remediation of film with video and other intermedial aesthetics. Beginning with a chapter on the theorization of memory and the moving image and the diverse genealogies of artists' film and video, the following chapters identify five different mnemonic modes in artists' moving image: critical nostalgia, database narrative, the 'echo-chamber', documentary fiction and mediatized memories. Stan Douglas, Steve McQueen, Runa Islam, Mark Leckey and Elizabeth Price are of a generation that has lived through the transition from analogue to digital. Their emphasis on the nuances of intermediality indicates the extent to which we remember through media.

Contributes an original reading of artists moving image in the context of intermediality and memory studies Situates the exponential increase in artists' moving image in relation to the transitional moment in the mid 1990s when the centenary of cinema coincides with the impact of digitalization Argues that the transitional intermedial aesthetics of contemporary artists' moving image have reconfigured the diverse and dissociated traditions of artists' film, video art and experimental film

Autorentext

Sarah Durcan is Programme Leader of the MFA Fine Art, National College of Art and Design, Dublin, Ireland. She is a contributor to Extended Temporalities (2016), Moving Image Review and Art Journal and Screening the Past.

Klappentext

This book addresses the preoccupation with memory in contemporary artists moving image installations. It situates artists moving image in relation to the transformations of digitalization as hybrid intermedial combinations of analogue film, video and digital video emerge from mid 1990s onwards. While film has always been closely associated with the process of memory, this book investigates new models of memory in artists remediation of film with video and other intermedial aesthetics. Beginning with a chapter on the theorization of memory and the moving image and the diverse genealogies of artists film and video, the following chapters identify five different mnemonic modes in artists moving image: critical nostalgia, database narrative, the echo-chamber , documentary fiction and mediatized memories. Stan Douglas, Steve McQueen, Runa Islam, Mark Leckey and Elizabeth Price are of a generation that has lived through the transition from analogue to digital. Their emphasis on the nuances of intermediality indicates the extent to which we remember through media.

Inhalt
Chapter One: Introduction: Memory and the Moving Image.- Chapter Two: Critical Nostalgia and the Centenary of Cinema.- Chapter Three: Database Narrative.- Chapter Four: The Echo-Chamber: Remembering Cinema.- Chapter Five: Mediatized Memories.- Afterword