Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image

*Note: This is a soft copy of a research file in the form of a photo album TheCloseupImage Introduction Itseemedinstinctualtoprinttheseimagesasphotographsandworkwiththem, almostasobjects,laidoutacrossthesurfaceofmybed.Filmstillsstrugglewith thememoryofthefilmtheycamefrom;whatwasbeforeandafter,likeaninfant whohasstumbledalittletoofarfromhermother. Thisresearchfilestartedwithlookingatthecloseupimage.PromptedbyAgnes VardastreatmentofherfilmsubjectsinTheGleanersandI,itbecamepossibleto notice how Trinh T. Minhha made Reassemblage in Senegal. The rallying children in Phillippe Parrenos No More Reality is also examined for notions of realityandrepresentation. The ideas that are touched upon include Deleuzes writings on the movement image with regards to framing and affect, Laura U. Marks emphasis on haptic visualityandHitoSteyerlsexplorationoftheformofdocumentary. Thetextsdisregardthemargins;sentencesembracethewhitespaceandbecome closer.

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album PhillippeParreno,NoMoreReality(1991),4 The context is in Serpentine Gallery last January showing a series of Phillippe Parrenos films. Four different films occupyindividual spaces in the gallery but noneisshownconcurrently.Theaudienceisthuscoercedintomovingasatroop fromeachspacetothenexttoencounterthefilmsoneafteranother.Forminga sort of metanarrative, the audiences collective movement act as intensely surrealbreaksinbetweenthefourotherwiseautonomousfilms. Neartheentranceisa4minutepixelatedcamerarecordingofanevent.Thisis somewhattruetowhatIremembered:

A group of children are shouting NO MORE REALITY! NO MORE REALITY! There is a lot of noise, both in the sense of the event and the quality of the recording. These little people are holding up banners which says the same as theirchantsastheymoveforwardlikeinastreetmarch.Childrenarescreaming and whistles can be heard. The lowresolution image sometimes turns into an indiscernible abstraction when things come too near the camera. But these momentseventuallypastastheanonymousfacewalksalonganddistanceonce againallowsustosee.

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album

Twonotionscanbeaddressedhere,realityandthepoorimage1.Beforethat,this isadocumentationofthepieceIfoundontheInternet:

1Steyerl,H.(2009).InDefenseofthePoorImageinefluxjournal(No.10,Nov)

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album

Its vivid colours and pristine quality obviously contrast to the one screened at theSerpentine.Tomydiscovery,thefilmshowninthelatterisactuallyareshot of the original on the artists mobile phone. I see, a copy, less valuable in all aspects;onethathadHitoSteyerlstandingupforInDefenseofthePoorImage. Sheidentifiesanalternativecircuitofpoorimageswhosedefinitionisitslackof definition, marginalized in a hierarchy of images dominated by cinema and advertisements. PerhapsthecheapreshotofNoMoreRealityisapoignantmisplacementinthe contextofthewhitecube?ItsgraininessiswhatIremembered.Steyerlmentions, [r]esolutionwasfetishizedasifitslackamountedtocastrationoftheauthor.2 Thepoorimagethatissubservienttoanoriginalisletlooseinthedigitalworld, theylosematterandgainspeed.3Piratedfilms,videosshotoncameraphones smuggledoutofexhibitions,imagescompressed,copiedandpastedeverywhere. Qualityistransformedforquicktransmissionandeasyappropriation.Here,itis
2Steyerl,H.(2009).InDefenseofthePoorImageinefluxjournal(No.10,Nov) 3SeeIbid.

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album being restored into the sanctuary of originality, the authors own castration is undone. To address the content, this is a fictional event arranged by the artist and the children. Its recording takes the form of documentary. Let us return to Steyerl andrecallananecdoteaboutastrangebroadcast4shesawonCNNyearsago.A seniorcorrespondentcoveringtheIraqwaruseshiscameraphoneforadirect broadcastwhileexclaimingthatsuchlivefootagehadneverbeenseen.Indeed,it was as good as an abstract image composed of green and brown patches synonymoustothesoldiers. Themoreimmediatetheybecome,thelessthereistosee.5 This notion of reality is deeply entwined with the poor image. Baudrillards successivephasesoftheimagecanbeevoked: 1. Itisthereflectionofabasicreality. 2. Itmasksandpervertsabasicreality. 3. Itmaskstheabsenceofabasicreality. 4. It bears no relation to any reality whatever: it is its own pure simulacrum.6 In todays era of media proliferation, he speaks of images as simulation in opposition to representation. Before, an image directly represents. Then it fails torepresent,introducingthequestionoftruth(oftheimage).Thenitcastsdoubt onthetruthitismeanttorepresentandinapanictosavethistruth,theimageis onceagainreliedupontorepresent.Inthissense,theimagehasthecapacityto precedereality,whichbecomespuresimulationwithoutanyreference.
4Steyerl,H.(2007).DocumentaryUncertaintyinAprior(No.15) 5SeeIbid. 6Baudrillard,J.(1998).SimulacraandSimulationsinPoster,M.(ed.)(2001).JeanBaudrillard,

SelectedWritings.Cambridge:PolityPress.p.173

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album Whereas represention tries to absorb simulation by interpreting it as false representation,simulationenvelopsthewholeedificeofrepresentationasitself asimulacrum.7 Thesimulacrumisthepopularimageinmedia,recognisedasreal,reaffirmedas real.Thepoorimageisthenwherethisdiscomfortofthesimulacrumhides.Its lackofreferenceseeksrefugeinbadqualityasreality. Thechildrenrallyingintheplaygroundasapseudomediaevent;didtheymean tocallfortherejectionofrealityortoannounceitasalreadyinvalid?Thetaskto represent reality will forever plague the image. Therefore, the films chosen in this file are all documentaries of some sort, imbricating similar ideas of representation.Tobeginlikethisistoestablishthegroundforforayingintothe filmstillsthatfollow.Itistoaddressthemincloseproximitywiththefilmsthey originate from without suffocating their imageness.

7Baudrillard,J.(1998).SimulacraandSimulationsinPoster,M.(ed.)(2001).JeanBaudrillard,

SelectedWritings.Cambridge:PolityPress.p.173

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album AgnesVarda,TheGleanersandI(2000),78 Thepracticeofgleaninginagriculturaltermsreferstothepickingupofleftover cropsbypoorpeasantsafterharvestisdone.Inthisfilm,AgnesVardaparallels herfilmmakingwithgleaningasshecollectsthroughimages,bendingdownand goingclose.Hersubjectsarefellowgleanersaswellasthethingstheyscavenge, frompotatoestoobigforcommercialpackagingtograpesinabandonvineyards toexpiredfoodthrownoutbysupermarkets. Mostly,weseeherdocumentingwithacamerainherhandandothertimes,our perspective coincides with hers. Her thoughts are superimposed as intimate, retrospectivevoiceoversinterspersedwithconversationswithhersubjects. In one sequence, Varda is collecting heartshaped potatoes, filming and putting them in her bag. An establishing shot locates Varda, back bent in a field of rejected potatoes,her attentionisfocusedonto herviewfinder.Shegoescloser and we share her moment of discovery as the film switches to firstperson perspective.Asingleheartshapedpotatofillsthescreen.Next,awideangleshot again,ofherreachingdown.Backtofirstperson,ahandreachesintothejerky closeupimageandpullsthepotatooutofscreen.Theunsteadyimageshuffles andwehearthesoilcracklingunderherfeetasshemoves.Finally,aglimpseof herfingersandthepotatoesinthebag.

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album

The closeup here aligns with Eisensteins conception of it as a montage unit notsomuchtoshowortopresentastosignify,togivemeaning,todesignate.8 Kracauerclarifies,thesignificanceofthecloseupfortheplotaccruestoitless from its own content than from the manner in which it is juxtaposed with the surroundingshots.9 Thecloseupdrawsattentiontoadetailimportanttothenarrative.Inthiscase,it lendscontinuitytothemovementbeingfilmed.Itextendsfromtheshotbefore andexplainstheoneafter. IfVardaslefthandistheaction(collecting),herrighthandmakestheimage. & Ifherrighthandistheaction(filming),ourlookingmakestheimage.

8EisensteinquotedinKracauer,S.(1960).TheEstablishmentofPhysicalExistenceinTheoryof 9SeeIbid.

Film:TheRedemptionofPhysicalReality.NewJersey:PrincetonUniversityPress.p.47

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album

Theactionhastakenprecedentovertheimage.Themomentwhenherattention is shifted away from carefully framing the image toward handling the potatoes seems like an intimate one. With the frame thrown off, our ears are attuned, whenisshedone?

Thedeliberatealternationbetweenfirstperson(seeingasVardasees)andthird person (looking at Varda act) perhaps entice the spectators identification with Vardasfascinationforthethingsshefilms.Thefilmisasmuchaboutherasthe subjects she documents; reminiscent of Baudrillards theory of collection in whichthecollectorisactuallythesubjectofthecollection.

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album ForBaudrillard,objectscanonlyeitherbeutilizedorpossessed.Objects,whose functions have been divested so as to be possessed, derive meaning from the collection/collector.Inturn,thesubjectivityofthecollectorisdefinedbyhis/her collection.10 It is possible to tie this in with Gleaners. Varda possesses her film subjects throughfilmsandindocumentingherprocessofcollecting,she,thefilmmaker, becomescentralfigure.

10Baudrillard,J(1994).TheSystemofCollectinginElsner,J.&Cardinal,R.(ed.)(1994).The

CulturesofCollecting.London:ReaktionBooks

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album TwosimilarsequencesinthefilmareofVardasownhands.Therightisholding the camera and filming the left. She speaks of her age while carefully scanning thecreasesandzoomingintotheveins.Aselfportrait,itisapoeticgesture.

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album

Kracauer expands from Eisensteins closeup and argues for its revealing function of things normally unseen. Any huge closeup reveals new and unsuspected formations of matter [] they blast the prison of conventional reality,openingupexpanseswhichwehaveexploredatbestindreamsbefore.11 ThisisasmuchDeleuzesaestheticsofsensationasLauraMarkshapticvisuality. Barbara Kennedy explicates Deleuzes conception of an abstract machine that produces sensations. Sensations point towards an intense experience freed fromthemodelofrecognitionand[]theidealofcommonsense.12Operating
11Kracauer,S.(1960).TheEstablishmentofPhysicalExistenceinTheoryofFilm:The

RedemptionofPhysicalReality.NewJersey:PrincetonUniversityPress.p.48
12Kennedy,B.(2000).TowardsanAestheticsofSensationinDeleuzeandCinema.UK:

EdinburghUniversityPress.p.109

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album atalevelwithouttheempiricalsenses,Kennedyspropositionisthatsensation supersedesrepresentationanditselfbecomesreal.13 Itdefamiliarizes.Itisforeign.Eventheownerofthehandshastosay,Ifeelasif Iamananimal.Thistime,perhapsitisherperspectivethatcoincideswithours. Thecloseuphasconfrontedtherealityofherage.Hersubjectivityisthrownoff guard. This malleability can be understood with a haptic relationship with the image. Haptic perception relates to tactility, akin to touching with our eyes. In totaloppositiontoanopticalonewhichsetsupasafedistance,hapticvisuality signalsasenseofloss.14Markssaid, Webecomeamoebalike,lackingacentre,changingasthesurfacetowhichwe clingchanges.Wecannothelpbutbechangedintheprocessofinteracting.15 InDeleuzesterm,thecloseupisalsoasign.Butratherthantosignify,itisone to be encountered in pure movement, duration and rhythm16. They are materialforces,notfigurativeimages.17 Ceasing to be a hand, the expanse of almost translucent skin, we cling, both filmmakerandviewer,ontotheimage,thatisage.

13SeeIbid.p.110 14Marks,L.(2002).SensuousTheoryandMultisensoryMedia.US:UniversityofMinnesotaPress.

p.xvi
15SeeIbid.

16Kennedy,B.(2000).TowardsanAestheticsofSensationinDeleuzeandCinema.UK: 17SeeIbid.

EdinburghUniversityPress.p.110

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album Vardasapproachtoherfilmingsubjectbecomescomplicatedwhenshetriesto represent. Neither inanimate objects nor herself, Varda documents a group of homeless youths who have been implicated in a lawsuit for vandalizing and rummagingthroughsupermarketbins.Cuttingbetweenthelawyer,supermarket manager and the youths, Varda attempts to represent a neutral sequence of event. Whileatit,shewasstruckbythebeautyoftheyouthswiththeirdogs,drawing anaestheticparallelwithhairandfur.Onesequencefeaturesaseriesofcloseup facesofdogandman.WhydoIfindthiscoherencemorallytroubling?Manare notdogs? ForDeleuzesaffectimage,thecloseupandthefaceareequivalent.Itisthepart ofthebodythatexperiencemicromovementofexpressioninsteadofmovement ofextension.18Theimmobilityofthebodyisasacrificeforintensiveexpressive movements on the face. This is what constitutes affect, nuances leading up to paroxysm. Hecontinuestoidentifytwopolesofthecloseupthereflectingfacerelatingto Quality and the intensive series of faces relating to Power.19 The former is an eternal image, within the contours of the face is reflected a unity, a thought, a quality. The latter is a series of faces (closeups) that brings the viewer from qualitytoquality,toemergewithanewquality,Power. ThissomewhatobscuredescriptionistrudgedthroughsoastoidentifyVardas seriesoffaceswithwhatDeleuzesaysofEisensteinandhismontageuseofclose up.DeleuzeexplainsthatEisensteinscompactandcontinuousseriesiscapable
18Deleuze,G.(1983).CinemaITheMovementImagetransl.byTomlinson,H.&Habberjam,B. 19SeeIbid.p.93

(1986).London:Continuum.p.90

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album of destroying the binary between a collective and the individual. It is done by directlyunitinganimmensecollectivereflectionwiththeparticularemotionsof each individual.20 To clarify using Vardas sequence, the closeup is used to profile each individual, dogs included; their peculiar colour, texture and expressionstogetherformaharmoniouspalette.Thatisusedtoillustratetheir commonplightandtheircollectivereproachtothelaw. Thesuccessionofsame,butdifferent,contemplativefacesproducesaffect.Asthe voiceover says, it was picturesque.21 It is in the filmmakers power to create this new quality concerning beauty. It can be said that the subjects have been aestheticizedviathecloseup.Inasense,thismeansrepresentation(oftheevent or of the homeless) is exceeded. But is this an objectification of the filmed subject?

20SeeIbid.p.94 21FilmquotefromVarda,A.(2000).TheGleanersandI

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album TrinhT.Minhha,Reassemblage(1982),40 As a theorist deconstructing the form of documentary, Trinh T. Minhhas Reassemblageismoreaworkofquestionsthananswers.Thefilmisconstantly selfreflexive,afilmaboutwhat?AboutSenegal.AboutwhatinSenegal?22 Minhhamentionsthatwideangleshotsareconventionallyemployedinfavour of closeup in documentaries for their supposed objectivity. The closeup presents partial images which are neither informative nor faithful to reality. In the pursuit of naturalism, other techniques are also preferred, for instance, the portablecameraandvoicerecorderthatrecordsrealpeopleinreallocationat realtasks.23Documentariesthusderiveitsauthorityastruthfromthisconstant referencetoreality.Theadherencetoteachorinformclosesupmeaning,leaving no room for interpretation and the documentary form becomes a language of power.AsMinhhapointsout,whatisputforthastruthisoftennothingmore thanameaning.24 In subversion, Reassemblage exemplifies montage techniques that are non didactic. As with many ethnographic films, it presents the villagers in various mundane activities but in a formal language that disrupts what is familiar. Conversations foreign to the Englishspeaking viewer are left untranslated; the voiceoverisMinhhasowninanintrospectivetoneandthereisgeneroususeof thecloseup. Thefilmopenswithablackscreenaccompaniedbythesoundofwhatseemslike a tribal celebration, drumming and dancing. Deleuzes theorizes the frame as a limitedsysteminwhichdataiscontainedandisalwayseithertendingtowards saturationorrarefaction.Theblackscreenistheextremerarefiedimage.Butit
22FilmquotefromMinhha,T.(1982).Reassemblage 23Minhha,T.(1993)TheTotalizingQuestofMeaninginRenov,M.(ed.)(1993).Theorizing 24SeeIbid.p.90

Documentary.London:Routledge.p.94

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album isnotempty,itisanopacitythatislegibleaswellasvisible.25Theblackscreen isperhaps,likeacloseup?Unrecognisable,whatarewetomakeoutofit?This blacknessinfusedwithfestivityisacommentonrepresentation,onthevaluewe haveplacedonlooking.Theanthropologicaleyethatisblockedfirstbeforeitcan see.

25Deleuze,G.(1983).CinemaITheMovementImagetransl.byTomlinson,H.&Habberjam,B.

(1986).London:Continuum.p.14

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album Thenextexampleisafullsequence. (Everytimeitcuts,thenewimageisrecorded.)

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album It begins with Minhha saying, nudity does not reveal the hidden. It is its absence.26Awomanissittinghalfnude. Through the voiceover, she continues with an anecdote about nudity. A man whoisattendingaslideshowonAfricaturnstohiswifewithguiltinhisfaceand says,Iveseensomepornographytonight.27 Partial images of other halfnude women follow one after another. The closest zooms in onto a single breast, some shows just the upper torso, others have space for a background. These closeups do not constitute a whole; there is no establishingshotorasinglesubjectthesebreastscananchorto.Thequickcuts between them also mean they function differently from those in Vardas film. They behave like proper fragments arbitrarily montage together. As bare as nudity,perhapsthereisnosignifyingmessage? ThisisalsoacleverjuxtapositionwiththeslideshowofAfricaweareprompted toimagine,whichthemanhasseenandtakenaspornography.

26FilmquotefromMinhha,T.(1982).Reassemblage 27SeeIbid.

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album Anothersequenceusesacloseupimageofabreastrepeatedly.

Itisofthewomenlabouring.Thesequenceisrhythmicallyeditedtosynchronise withwhatsoundslikedrumsorthepoundingofgrains.Thealternatingmotifof thesinglebreastmustmeansomething,butwhat? 23

Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album Deleuzementionsthescreenastheultimateframe,itgivesacommonstandard ofmeasurementtothingswhichdonothaveonelongshotsofcountrysideand closeupsoftheface,anastronomicalsystemandasingledropofwaterparts which do not have the same denominator of distance, relief or light.28 It therefore deterritorialises the image. Again, Deleuze on the closeup: It abstracts it from all spatiotemporal coordinates, that is to say it raise it to the statusofEntity.29 Thereisasenseoffreedominthecloseup.Onscreen,theframeequalizesitwith thewidestoflandscapeandallspatiotemporalcoordinatescanbedisregarded. Yet,whenitrepeatsitself,itislocated,inbetweentheothershots.Itrefusesto risetoanindependentstatusofEntity.However,itsneighbouringshotsdonot recognise it either. What is apparent, however, is the zooming in and out of perspective. Maybe these closeups act as shifters, ensuring no continuity and therebyemphasizingtheconstructednessofthingsseenonscreen.

28Deleuze,G.(1983).CinemaITheMovementImagetransl.byTomlinson,H.&Habberjam,B. 29SeeIbid.p.98

(1986).London:Continuum.p.16

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album Conclusion Lastly, the idea of objectifying or possessing film subjects should be revisited. The closeup sought to disown representation and so the filmed subject is sometimesforgotten.Isthatacceptable?Freedtomakeitsownmeaning,canwe alsosuggestthatthecloseupisthemostvulnerableformanipulation? Deleuze usefully reminds us of the outoffield. That is what is not seen or understoodwithintheframeofthescreen.Thecloseupbysuppressingtheout offield, gives it an even more decisive importance. Either by connecting the imagewithwhatisbeyond,beforeorafter,thecloseupfacilitatesthepresencing ofthings(withouthavingtobeseen,itispresentnonetheless). The word presencing is borrowed from Steyerl who talks about documentary formasatranslationbetweenlanguageofthingstolanguageofman. Translatingthelanguageofthingsisnotabouteliminatingobjects,nor about inventing collectivities, which are fetishised instead. It is rather about creating unexpected articulations, [] presencing precarious, risky, at once bold and preposterous articulations of objects and their relations, which still could become models for future types of connection.30 Thatsaid,thecloseupshotiscapableoftheunexpected.Constitutedinthefilm, it can never divorce itself from what is before and after. Perhaps it is the interplay between these two positions that opens up meaning and grant new affects.

30Steyerl,H.(2006).TheLanguageofThings.

Availabefrom:http://eipcp.net/transversal/0606/steyerl/en/base_edit

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album Bibliography Baudrillard,J(1994).TheSystemofCollectinginElsner,J.&Cardinal,R. (ed.)(1994).TheCulturesofCollecting.London:ReaktionBooks Baudrillard,J.(1998).SimulacraandSimulationsinPoster,M.(ed.)(2001).Jean Baudrillard:SelectedWritings.Cambridge:PolityPress Deleuze,G.(1983).CinemaITheMovementImagetransl.byTomlinson,H.& Habberjam,B.(1986).London:Continuum Kennedy,B.(2000).TowardsanAestheticsofSensationinDeleuzeandCinema. UK:EdinburghUniversityPress Kracauer,S.(1960).TheEstablishmentofPhysicalExistenceinTheoryofFilm: TheRedemptionofPhysicalReality.NewJersey:PrincetonUniversityPress Marks,L.(2002).SensuousTheoryandMultisensoryMedia.US:Universityof MinnesotaPress Minhha,T.(1993)TheTotalizingQuestofMeaninginRenov,M.(ed.)(1993). TheorizingDocumentary.London:Routledge Steyerl,H.(2006).TheLanguageofThings Availabefrom:http://eipcp.net/transversal/0606/steyerl/en/base_edit Accessedon:27Apr2011 Steyerl,H.(2007).DocumentaryUncertaintyinAprior(No.15) Availabefrom:http://www.aprior.org/apm15_steyerl_docu.htm Accessedon:27Apr2011 Steyerl,H.(2009).InDefenseofthePoorImageinefluxjournal(No.10,Nov) Availablefrom:http://www.eflux.com/journal/view/94 Accessedon:27Apr2011 Filmreferences Varda,A.(2000).TheGleanersandI,78 Parreno,P.(1991).NoMoreReality,4 Minhha,T.(1982).Reassemblage,40 Otherresources NoMoreRealityfilmstillstakenfrom:

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Joyce Teo | BA(Hons) Fine Art & History of Art Year II Goldsmiths | April 2011 | HT52063A Moving Image *Note: This is a soft copy of a research file in the form of a photo album http://www.newmediaart.org/cgibin/show oeu.asp?ID=150000000034760&lg=GBR Accessedon:27Apr2011

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