“Post-Medium” and Experimental Film As “Expanded Cinema”: A Case of <The Clock> of Christian Marclay

최정은

doi:10.17057/kahoma.2016..40.008

Journal of History of Modern Art

2016, (40), pp.209-242
DOI : 10.17057/kahoma.2016..40.008
Publisher : 현대미술사학회
Research Area : Art History

최정은 ¹

¹홍익대학교

ABSTRACT

In this paper, I examined Christian Marclay’s intermedial works including <The Clock> and its relation to experimental films. After Neo Avant-garde movement in 1960-1970s, many “Structural Films” were produced. These Structural Films had common features with Minimalism, such as investigation into “form” & materiality. Marclay’s works repeat these Structural Films’ experimental form & contemporary films’ grammar of practice. However, Marclay’s works also have the features of Post-Minimalism. Even though maintaining Minimalism’s approach to form, his works are the results of a translation of Minimalism’s form into bodily experience & synaesthetic experiment. Marclay’s works, especially <the Clock>, could be evaluated as “tour de force” among so many contemporary post-medium intermedia works. In <the Clock>, Marclay uses sounds and moving images as technical support, also synchronicity with real time as abstractional technical support. Archive of found footage is used as conventional medium, through which technical supports are unfolded. As a response to the phenomena of real time archive in everyday life, Marclay’s <The Clock> works as a radical criticism on the situation of post-modern society.
KEYWORDS

post-medium, postminimalism, experimental film, Structural Film, found footage, temporality, archive
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