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

Jeong Eun Choi

doi:10.17057/kahoma.2016..40.008

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.

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* 2021년 이후 발행 논문의 참고문헌은 현재 구축 중입니다.

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