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The Idea of Place: Space and Culture 20th Anniversary Conference

Emplacing Time: Photography, Location, and the Cinematic Moment (Idea of Place – Slides) Open Access


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Zambenedetti, Alberto
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Photography, Cinema, Location Studies, Temporality
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Conference/workshop Presentation
Cinema, arguably the time-based medium that is most synonymous with modernity, is also an art form of place, in that it records it in time and, in the best circumstances, it stores it through time. If, as Michel De Certeau famously remarked, “space is a practiced place,” then cinema is the memory of that practice, it is the archive of that transformation: cinema, in other words, emplaces time. Moreover, because of its physical properties, film is also an archival object whose very existence is challenged by the passing of time. In recent years, the ways in which cinema emplaces time have become the subject of a dual contemplation on the part of a generation of photographers who, in their projects, re-photograph cinema’s loci—from movie palaces to film locations. With this in mind, this paper will examine the work of Ryerson University graduate Christopher Maloney, who in his ongoing project FILMography (
) travels the world to produce photographs that include stills of the original films. The Canadian photographer’s work will be discussed in relation to the 2012 installation INTERVAL (AFTER INTERVALS)(
) by British artist Michael Lightborne, which includes photographs of the locations for Peter Greenaway’s 1969 short film Intervals as well as the original film. These cinematic pilgrimages underscore cinema’s innate relationship with place, while they also highlight the changes that occurred in the time that intervened since production, revealing the instability of the filmic object as one of time as well as in time.

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