In Theory and Practice: Re-imagining a Grammar of Filmic Conventions
With Maxa Zoller, Karen Mirza, Andy Weir
Moderated by Daniella Saul
28 November 2009
The round table discussion aims to situate the context of FormContent’s exhibition project “The Filmic Conventions” within a historical/theoretical framework of film theory as well as bringing together contemporary curatorial and artistic practice into a discourse of film as theory and the production of work as a potential reflection of a particular philosophical and theoretical stance within the making of the moving image in Contemporary Art.
With a curatorial structure that takes its starting point from Jan M. Peters’s 1981 theory outlined in Pictorial Signs and the Language of Film, the round table aims to address questions of contemporary methods of production within artistic practice. Is there still a “languaged” dimension to film and the cinematic after medium specificity? Language is also questioned as a curatorial framework for the encounter with the moving image. As an exhibition or screening produces meaning through the register it employs, can a lexicon of film as structure reinvigorate a subjective engagement with the moving image within an immersive spectatorial framework?
Bibliography and access to texts:
- Alain Badiou, “The False Movements of Cinema” in The Handbook of Inaesthetics (California: Stanford University Press) 2005 pp.78-88
- Noël Carroll “The Specificity of Media in the Arts” 1996
Also reproduced in: Film and Theory: An Anthology eds. Robert Stam and Toby Miller (London: Blackwell) 2000
- Gregory Currie “Languages of art and languages of film” inImage and Mind: Film, Philosophy and Cognitive Science(London: Cambridge University Press) 1995 pp.113- 137
- Metz, Christian “The Cinema: Language or Language System?” in Film Language trans. Michael Taylor (Chicago: University of Chicago Press) 1990 pp.31- 91