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ReEdit: Against Passive Reception

Telephones, 1995

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Telephones, 1995

https://www.youtube.com/watch?v=yH5HTPjPvyE

Christian Marclay's "Telephones" (1995), a 7 1/2-minute compilation of brief Hollywood film clips that creates a narrative of its own. These linked-together snippets of scenes involve innumerable well-known actors such as Cary Grant, TippiHedren, Ray Milland, Humphrey Bogart and Meg Ryan, who dial, pick up the receiver, converse, react, say good-bye and hang up. In doing so, they express a multitude of emotions--surprise, desire, anger, disbelief, excitement, boredom--ultimately leaving the impression that they are all part of one big conversation. The piece moves easily back and forth in time, as well as between color and black-and-white, aided by Marclay's whimsical notions of continuity.

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The Clock

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Still from CNN Concatenated

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CNN Concatenated, 2002

https://www.youtube.com/watch?v=RCD3IxCZpsM

CNN Concatenated, death is signified by a compulsive staccato montage of words, phonemes and pauses for breath sampled from ten thousand hours of images recorded from the 24-hour news channel, all uttered by male and female presenters who are substituted one for another, in one long chain of identical links. A meta-discourse of breath and words takes force rather form in this montage, which builds the anxious rhythm of an urgent harangue, subliminal and paranoid, uttered in the first person and addressed to 'you', a spectator that is both specific and anonymous. With its look, its stars, its round-the-clock operations, its vocabulary, its intonation and its dramaturgy, CNN is news as theatre, a theatre here infiltrated by Fast. In his pirate compilation these talking heads, stiff while reading the teleprompter but not quite actors, succeed each other on screen in accordance with a mechanical rhythm. (Elisabeth Lebovici, "From Homer to Omer Fast", Afterall)

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Her, 2008

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Candice Breitz, Her, 2008

https://www.youtube.com/watch?v=wvonIQD-SCY&feature=related

Candice Breitz use existing footage from Hollywood films to compose dense psychological vignettes through editing. Across the displays, numerous manifestations of the same actoress (Streep) jostle with one another for prominence, collectively suggesting, in their sameness and difference, strong metaphors for the schizophrenic internal dialogue that takes place within the mind of a single individual.

 

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