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The Time of Cinema: A Case Study of Temporality in Contemporary Art Open Access


Other title
Gilles Deleuze
Media Installation
Film Theory
Type of item
Degree grantor
University of Alberta
Author or creator
Cullen, Frances
Supervisor and department
Lianne McTavish (Art and Design)
Examining committee member and department
Mary Elizabeth Boone (Art and Design)
Elena del Rio (English and Film Studies)
Department of Art and Design
History of Art, Design and Visual Culture
Date accepted
Graduation date
Master of Arts
Degree level
Recent decades have seen a pervasive ‘cinematization’ of the art gallery whose most acute symptom is a near-ubiquity of time-based media. This thesis is concerned with a body of recent media artwork that makes its relationship with cinematic forms and traditions explicit. Specifically, it explores the way that these works re-assess notions of cinematic time via three primary case studies (of Christine Davis’ Did I Love a Dream?, 2009; Jim Campbell’s Hitchcock’s Psycho, 2000; and Alex Prager’s Despair, 2010) and by referencing a diverse body of film theory from apparatus theory to Deleuzian philosophy. What are the implications of these investigations for an art practice invested in temporal aesthetics? To answer this question, these chapters address respectively three distinct but related ‘times of cinema’: that experienced as a condition of viewing, that produced by its image, and that of its acquired historicity in the face of cultural and technological obsolescence.
Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission.
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