The Paradigm Case

With the migration of cinema into the art gallery, artists have been increasingly turning to Alfred Hitchcock's classic films for inspiration. Focusing on the work of five artist-filmmakers, this book considers how Hitchcockian images, sequences and iconography are reconfigured and reimagined for the art gallery.

With the migration of cinema into the art gallery, artists have been turning, with remarkable regularity and ingenuity, to Alfred Hitchcock-related images, sequences and iconography. The world of Hitchcock's cinema a classical cinema of formal unities and narrative coherence represents more than the spectre of a supposedly dead art form: it transcends its own filmic and institutional contexts, becoming an important audio-visual lexicon of desire, loss, mystery and suspense. Through a detailed study of the Hitchcock-related work of artist-filmmakers Matthias Müller and Christoph Girardet, Johan Grimonprez, Pierre Huyghe, Douglas Gordon and Atom Egoyan, this book facilitates a dialogue between the creative appropriation of Hitchcock's films and the cinematic practices that increasingly inform the wider field of the contemporary visual arts. Each chapter is structured around a consideration of how the artwork in question has reconfigured or 'remade' key Hitchcockian expressive elements and motifs in particular, the relationship between mise en scène and the mechanics of suspense, time, memory, history and death. In a career that extended across silent and sound eras as well as the British, European and Hollywood industries, Hitchcock's film uvre can be seen as a history of the cinema itself. As the work of these contemporary artist-filmmakers shows, it was also a history of the future, a paradigm case par excellence.

Autorentext

Bernard McCarron holds a PhD in Film Studies from Queen's University Belfast, where he is currently a lecturer. While he has written extensively on the international influence of expressionist film outside Germany, his main research interests include the afterlife of cinema and its legacy in the digital age.

Inhalt

Contents: Mapping the Field of Hitchcockian Appropriation - Found Footage in Flames: Matthias Müller and Christoph Girardet's Phoenix Tapes - The Essay-Film (Expanded): Johan Grimonprez's Double Take - Horror in Real-Time: Douglas Gordon's 24 Hour Psycho - Participatory Remaking: Pierre Huyghe's Remake - Screening Memory: Atom Egoyan's Evidence / Felicia's Journey.