Film and Media as a Site for Memory in Contemporary Art

Open access

Abstract

This article explores the relationship between film, contemporary art and cultural memory. It aims to set out an overview of the use of film and media in artworks dealing with memory, history and the past. In recent decades, film and media projections have become some of the most common mediums employed in art installations, multi-screen artworks, sculptures, multi-media art, as well as many other forms of contemporary art. In order to examine the links between film, contemporary art and memory, I will firstly take a brief look at cultural memory and, secondly, I will set out an overview of some pieces of art that utilize film and video to elucidate historical and mnemonic accounts. Thirdly, I will consider the specific features and challenges of film and media that make them an effective repository in art to represent memory. I will consider the work of artists like Tacita Dean, Krzysztof Wodiczko and Jane and Louise Wilson, whose art is heavily influenced and inspired by concepts of memory, history, nostalgia and melancholy. These artists provide examples of the use of film in art, and they have established contemporary art as a site for memory.

Adorno, Theodor W. 1967 [1955]. Prisms. London: Neville Spearman.

Assmann, Jan. 1992. Cultural Memory: Writing, Memory and Political Identity in Early Civilizations. Munich: Verlag C. H. Beck.

Bal, Mieke; Jonathan Crewe and Leo Spitzer, eds. 1999. Acts of Memory: Cultural Recall in the Present. Hanover: Dartmouth College, University Press of New England.

Braudel, Fernand. 1958. Histoire et science sociales: La Longue durée. [History and the Social Sciences: The Long Durée], Annales ESC 4: 725–753.

Segesten, Dutceac A. and Jenny Wüstenberg. 2016. Memory Studies: The State of an Emergent Field. Memory Studies. ePub. June 20.

Foucault, Michel. 1977. Language, Counter-Memory, Practice. Ithaca, New York: Cornell University Press.

Gablik, Suzi. 1991. Making Art as if the World Mattered. Models of Partnership. In The Reenchantment of Art. New York: Thames and Hudson.

Gibbons, Joan. 2007. Contemporary Art and Memory: Images of Recollection and Remembrance. London; New York: I. B. Tauris.

Halbwachs, Maurice. 1950. La mémoire collective. Paris: Albin Michel.

Hałas, Elżbieta. 2010. Time and Memory: A Cultural Perspective. Trames vol. 14 (64/59), no. 4. Warsaw: University of Warsaw.

Huyssen, Andreas. 1995. Twilight Memories: Making Time in a Culture of Amnesia. London: Routledge.

Landsberg, A. 1995. Prosthetic Memory: Total Recall and Blade Runner. Body & Society vol. 1, no. 3–4: 175–189.

Luhmann, Niklas. 1995. Social Systems. Stanford, CA: Stanford University Press.

Nemiroff, Diana. 1986. Canada, XLII Biennale di Venezia. Ottawa: National Gallery of Canada.

Radstone, Susannah. 2000. Memory and Methodology. Oxford and New York: Berg.

Ricoeur, Paul. 2000. La mémoire, l’histoire, l’oubli. [Memory, History, Forgetting], Paris: Éditions du Seuil.

Royoux, Jean; Marina Warner and Germaine Greer. 2006. Tacita Dean. London: Phaidon.

Saltzman, Lisa. 2006. Making Memory Matter: Strategies of Remembrance in Contemporary Art. Chicago: University of Chicago Press.

Tilly, Charles. 2001. Historical Analysis of Political Processes. In Handbook of Sociological Theory, ed. Jonathan H. Turner, 567–588. New York: Kluwer Academic.

Trodd, Tamara. 2008. Lack of Fit: Tacita Dean, Modernism and the Sculptural Film. Art History vol. 31, no 3, June: 368–386.

Wodiczko, Krzysztof. 1998. Artist’s Statement. Assemblage: A Critical Journal of Architecture and Design Culture no. 37, December: 7–21.

Wodiczko, Krzysztof. 1999. Critical Vehicles: Writings, Projects, Interviews. Cambridge, MA: The MIT Press.

Acta Universitatis Sapientiae, Film and Media Studies

The Journal of Sapientia Hungarian University of Transylvania

Journal Information

Metrics

All Time Past Year Past 30 Days
Abstract Views 0 0 0
Full Text Views 418 323 19
PDF Downloads 227 196 13