.
ARGOS, Centre for Art & Media in Brussels, presents
Laura Mulvey lecture
FRIDAY 26.10.2007 // 20:30 // free
Filmmaker and critic Laura Mulvey (UK, 1941) is professor of film and
media studies at Birkbeck College, University of London. Her work as
a critic during the 1970s, particularly her essay Visual Pleasure and
Narrative Cinema (1975), is considered to be one of the main
foundations of feminist film theory. During the period 1974–1982 she
produced numerous theoretical films with her husband Peter Wollen,
touching areas in the discourse of feminism, semiotics,
psychoanalysis and left-wing politics. Later she also produced the
film Disgraced Monuments (1993) together with Mark Lewis. Her recent
book Death 24x a Second: Stillness and the Moving Image (2006) offers
a number of reflections on the impact of new technologies on the
cinema experience, particularly with regards to the relationship
between the moving and the static image, since the possibilities to
decelerate the image, repeat and freeze it, creates a shift from a
voyeuristic to a more fetishist relationship with the cinematographic
object
in the context of the programme 'Cinema in Transit'
What does ‘Cinema’ mean today? In the aftermath of its one hundredth
birthday the field of cinema seems to be expanding further and
further, split up into countless media and modalities, based on wide-
ranging technologies and motives. Now that the analogue image is
being quickly replaced by the digital one, beyond the materiality of
video and film, more is being produced and distributed than ever
before, but at the same time the way we watch, listen and experience
cinema is being severely fragmented and individualized. Cinema no
longer holds a specific place of its own; it is everywhere,
intertwined with and integrated into other cultural forms. Within
that context we today witness a significant renewal in the ways of
approaching cinema and the audiovisual arts, not only in the work of
a great number of artists, but also on an institutional level. The
familiar opposition between the ‘black box’ and the ‘white cube’,
between cinema culture and museum culture, can no longer be
sustained, and the call for new models resounds more and more. What
kind of shifts in meaning do these evolutions and contaminations
entail in the way we look at and reflect on art and film? Do visual
arts provide filmmakers with a free zone, where they can finally
fulfil their most radical promises, or is it more like a transit
zone, an intermediate stage in the re-thinking of the cinema project?
www.argosarts.org
Stoffel Debuysere
www.argosarts.org
mail: [EMAIL PROTECTED]
skype: stoffeldebuysere
phone: +32 2 229 00 03
mobile: +32 496200605
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