I.

II. (Remaking Cinema)

,
(Degenerated Video Art)
III. (spatialization) (temporalization)
IV.

I.

1
.
(Raymond Bellour)
1990
. (Harun Farocki), (Chantal
Akerman), (Issac Julien), (Abbas Kiarostami)

(Douglas Gordon), (Pierre Huyghe), (Philippe Parreno),
(Doug Aitken), - (Eija-Liisa Ahtila)
. (Dominique Pani)
. 1
, (Steina and Woody Vasulka),

, in Future Cinema: The Cinematic Imaginary After Film, eds. Jeffrey

1. Raymond Bellour,Battle of the Images
Shaw and Peter Weibel (Cambridge, MA: MIT Press, 2003), p. 59.

39 (2016. 6) 7
(Vito Acconci), 2
(Bill Viola), (Gary Hill), (Tony
Oursler) , ,
,
. 1990

. , , 3

(recyclers)
. , 4
2
(captivity) . 3 4

.
.
,
.
(cinematic video installation)


.
1990
, ,

.
(what is cinema)
(where is cinema)
.
()
(, , , )

, Art Press, No. 255 (March 2000), p. 39.

2. Dominique Pani,le retour du flneur/The Return of the Flneur

8
 .

1990
.


. ,

, , (
) (cinematic experience)
.3 , ,
, ,
-
(post-cinematic) .
(afterlife)
.

.
-

. (Chrissie Iles)
. 1990
1960 70
. 1960

70 (phenomenological phase)
(sculptural phase)
(Dan Graham),

3. -
(Francesco Casetti) . Francesco Casetti,Back to the
, Screen, Vol. 52, No. 1 (2011), pp. 1-12, Casetti, The
Motherland: The Film Theatre in the Postmedia Age
Lumire Galaxy: 7 Key Words for the Cinema to Come (New York: Columbia University Press, 2015) .

39 (2016. 6) 9
 (Peter Campus), (Bruce Nauman)
4
3 .
1990

. 3
5
.
3 4

.
.

6
.

(remaking cinema) (degenerated video art)


.
.

,
.

,
.

,

, in Space, Site, Intervention: Situating Installation Art, ed. Erika

4. Chrissie Iles,Video and Film Space
Suderburg (Minneapolis, MN: University of Minnesota Press, 2000), p. 253.
5. , p. 260
6. , p. 261.

10
. ()
.

,
(spatialization) (temporalization) .

,
.
,
,
, .

, ,
.
,

.

,
.
, , , ,

.

.

39 (2016. 6) 11
II. (Remaking Cinema)
,
(Degenerated Video Art)

(cinematic apparatus)
.
, , , ,
, ,
, , .

(mode of practice), , , ,
, .

. 20

.

.
,
.

(remake)

.
(Erika Balsom)
.
(found footage) (recycling),
(reenactment),
(interview),
(translation) .7

7. Erika Balsom, Exhibiting CInema in Contemporary Art (Amsterdam: Amsterdam University Press, 2013), pp.

12


/
. , ,
.

, , , ,
.



. - (Jean-Christophe Royoux)
(cinma d
exposition/cinema of exhibition)
.

,
.8 ,

,
.


.
.
9
.
(autre
cinma/other cinema)
.
- , ,

116-121.
, in
8. Jean-Christophe Royoux,Towards a Post-Cinematic Space-Time (From an Ongoing Inventory)
Black Box Illuminated, eds. Sara Arrhenius, Magdalena Malm, and Cristina Ricupero (Sweden: IASPIS and
Propexus; Finland: NIFCA, 2003), p. 111.
, Art Press, No. 262 (November 2000),
9. Jean-Christophe Royoux,Cinema as Exhibition, Duration as Space
p. 26.

39 (2016. 6) 13
.
.

10
.



11

.

, .
,
,
. ,

(aesthetic
of confusion)
.

12
.

.
20


. (Giuliana Bruno) .

(picturing)

.
13
.

10. Raymond Bellour,Of An Other Cinema

, in Arrhenius, Malm, and Ricupero, eds. (2003), p. 41.
, in Screen-based Art, eds. Annette W. Balkema and Henk Slager
11. Raymond Bellour,Challenging Cinema
(Amsterdam, The Netherlands: Rodopi, 2000), p. 37.
12. Bellour (2003), p. 58.
, in Camera Obscura,
13. Giuliana Bruno,Collection and Recollection: On Film Itineraries and Museum Walks
Camera Lucida: Essays in Honor of Annette Michelson, eds. Richard Allen and Malcolm Turvey (Amsterdam,
Amsterdam University Press, 2002), p. 236.

14

,



- .

. 90

( )
14
- .



.

.

, 20 (partrimony)
.15

. DVD

.
(projection)
.16

.
, 1960
70
.
, , , (Joan
Jonas) ,

, in Cinma Cinma: Contemporary Art and the Cinematic

14. Jean-Christophe Royoux,Remaking Cinema
Experience, exhibition catalogue (Rotterdam: Stedelijk Van Abbemuseum Eindhoven/NAI Publishers, 1999),
p. 21.
15. Dominique Pani, Le temps expos: le cinma de la salle au muse (Paris: Cahiers du cinma, 2002), p. 29
16. . p. 30.

39 (2016. 6) 15
(Michael Snow), (Paul Sharits), (Anthony McCall)
(structural film) .
2000
,
, , (embodied)

. 2001
: , 1964-1977(Into the
Light: The Projected Image in American Art 1964-1977)

,
/
, , , ,
17
.
, ,
,
,
.
, , , ,
18
.
, 1990

,
. (Catherine Elwes)
3 (immersive)
19
.

, in Into the Light: The Projected Image in American Art

17. Chrissie Iles,Between the Still and Moving Images
1964-1977, ed. Chrissie Iles (New York: Whitney Museum of American Art, 2001), p. 33.
18. Iles (2000), p. 254.
19. Catherine Elwes, Video Art: A Guided Tour (London: I. B. Tauris, 2006), p. 151.

16
 , 1990 -

,


.

,
,
. .
.
,
20
.
1960 70
90
. 3
2, , ,
, ,
, (perambulatory) ,
, ()
( ), .
.
(Liz Kotz) 1990
TV ,
, ,
21
. (David Joselit)

, in Saving the Image: Art after Film, eds.

20. Chrissie Iles,Issues in the New Cinematic Aesthetic in Video
Tanya Leighton and Pavel Buchler (Glasgow: Centre for Contemporary Arts, 2003), p. 132.
, in Art and The Moving Image: A Critical Reader,
21. Liz Kotz,Video Projection: The Space between Screens

39 (2016. 6) 17
 .


,
22
.
, , , ,
A. L. (A. L. Rees) 1970
. (Malcolm
Le Grice), (Peter Gidal) /
(David Hall) 70

, -, ,
.
, ,
.
, ,
23
.
2003(October)
(The
Projected Image in Contemporary Art)

(the phenomenological) (the virtual)
.24

, ,


.
(rampant virtualism or pictorialism)

ed. Tanya Leighton (London: Tate Publishing, 2008), p. 376.

s Streamside Day Follies and the Rise of Video
22. David Joselit,Inside the Light Cube: Pierre Huyghe
, Artforum, Vol. 42, No. 7 (March 2004), pp. 154-55.
Projection
, Millennium Film Journal, No. 52
23. A. L. Rees,Projecting Back: UK Film and Video Installation in the 1970s
(Winter 2009/2010), p. 69.
24.  (Hal Foster), (George Baker)
, (Matthew Buckingham) .

18
 25

1960 70
.

.

.
(Tamara Trodd)
.26
, , 90


(projected image)
.
1970
(apparatus theory) .

, ,
.

2 .
.
(, , , ) (,
90
, , )
60
70
.

25. Malcolm Turvey, Hal Foster, Chrissie Iles, George Baker, and Matthew Buckingham,Round Table: The
, October, No. 104 (Spring 2003), pp. 80-81.
Projected Image in Contemporary Art
, in Screen/Space: The Projected Image in
26. Tamara Trodd,Introduction: Theorising the Projected Image
Contemporary Art, ed. Tamara Trodd (Manchester, UK: Manchester University Press, 2011), p. 12.

39 (2016. 6) 19

.27
,
, ,
.

.
(Kate Mondloch) ,
,

28
.
.
, ,
.

,
.
.


(
) (
29
) .

,
,

27.  , (Tacita
Dean) ,
.
28. Kate Mondloch,Thinking through the Screen: Media Installation, Its Spectator, and the Screen
, doctoral
dissertation, Department of Art History, University of California, Los Angeles, 2005, p. 58.
29. Kate Mondloch, Screens: Viewing Media Installation Art (Minneapolis, MN: University of Minnesota Press,
2010), p. 17.

20
 .
,
, ,

( ) .

, -
, ,

. 1960 70
, ,

.
.
,
, , ,

.
,
, 3, ,
.


,
.
,
.
,

39 (2016. 6) 21

, , ,

.


.

III. (spatialization) (temporalization)

,
,
.

.

.

.30 , ,
(parallelism)
. ,

. (Daniel
Birnbaum) ,

30.  (exploratory duration)

. Mondloch (2010), p. 41; (Maria Walsh)
(peripatetic mobility)

. Maria
Walsh,Cinema in the Gallery - Discontinuity and Potential Space in Salla Tykk ,
s Trilogy
Senses of Cinema , No. 28 (2003), online; http://www.sensesofcinema.com/2003/28/salla_
tykka_trilogy/ (2016 2 13 ).

22
 31

.

.

.

.

.
.
.32

( ,


) .

.
, ,
.
.

31. Daniel Birnbaum, Chronology (New York: Lukas & Sternberg, 2005), p. 68.
32. 
-(visitor-spectator)
.
(flneur)
(Pani (2000), p. 41).

. Dominique Pani,le cinma expos: flux

, Art Press, No. 287 (February 2003), p. 29.
contre flux

39 (2016. 6) 23
 ,
, ,
,
.
, 1960 70
.

, , , , ,

. (Catherine Fowler)
, -(in-
frame)( )-(out-of-frame)(
- )
.33 -
, , ,
, ,
.
, -
-
.
.
(theatricalization)
. - (Anne-Marie Duguet)
(mise-en-scne of the moving image)
, 2
3
. 2
.34

33. Catherine Folwer,Room for Experiment: Gallery Films and Vertical Time from Maya Deren to Eija-Liisa
, Screen, Vol. 45, No. 4 (Winter 2004), p. 343.
Ahtila
34. Anne-Marie Duguet,Scenography of the Image
, in Balkema and Slager eds. (2000), p. 81.

24
 ,
- -

. (Harun
Farocki) (Kutlu Ataman)
3
.

.
,

. 3
. -
,

, , , , ,
.35 </ 3(Eye/Machine I,
II, and III)>(2001-2003)( 1) , ,


.
2
-
. 2 ( 3
) .

-

35.  T h o m a s
, in Harun Farocki: Working on the Sight-line,
Elsaesser,Harun Farocki: Filmmaker, Artist, Media Theorist
ed. Thomas Elsaesser (Amsterdam: Amsterdam University Press, 2004), pp. 11-42 .

39 (2016. 6) 25
 1. (Harun Farocki), </ 3(Eye/Machine I, II, and III)>, 2001-2003, 2
.

.
(operator)
.

, , .


.
.
TV , (
) ( , )
.

.

26
 ,
. <(Kba)>(2005)( 2) 40
TV . TV ,

. TV
TV
. TV TV

.
.

.
.

70

2. (Kutlu Ataman), <(Kba)>, 2005, , 40 TV

.

39 (2016. 6) 27
 3. (Doug Aitken), < (electric earth)>, 1999, 8 .

.
,
36
.
(Kathy Rae Huffman)

37
.

,

.

.
,

. 3

36. Kotz, in Leighton, ed. (2008), p. 383.

, in Ars Electronica: Facing the Future,
37. Kathy Rae Huffman,Video and Architecture: Beyond the Screen
ed. Timothy Druckrey (Cambridge, MA: MIT Press, 1999), p. 137.

28
 4. , <(Sleepwalkers)>, 2007, 8 , .

.


,
. < (Electric Earth>(1999)( 3)


<(Sleepwalkers>(2007)( 4)
. < >
LA
(
, ,
) .38

38.  Ursula
Frohne,Dissolution of the Frame: Immersion and Participation in Video Installations
, in Leighton (ed.)
(2008), pp. 371-385 .

39 (2016. 6) 29
 -

.
. 8
.
(narrative corridor)
39

, <>
. 8 (5 , 3
) , 5
. < >
5
.

, .

.
, , ,

.
(
(photogram) )
.40
, ,
.
, (playback)
-(time-shifting)

39. Doug Aitken,A Thousand Words: Doug Aitken Talks about Electric Earth
, Artforum, Vol. 38, No. 9 (May
2000), p. 160.
40. Yvonne Spielmann, Video: A Reflexive Medium (Cambridge, MA: MIT Press, 2008) .

30
 .41
.
(Mark B. N. Hansen) , ,
21
.

42
.
( ,
)
.


. -
. -
(re-temporalization) .
(Candice Breitz)
,

.

. .
.
,
.

41. Sean Cubitt, Timeshift: On Video Culture (New York: Routledge, 1991) .
42. Mark B. N. Hansen,Technical Repetition and Digital Art, or Why theDigitalin Digital Cinema is not the
, in Technology and Desire: The Transgressive Art of Moving Images, eds. Rania
Digitalin Digital Technics
Gaafar and Martin Schulz (London: Intellect, 2014), p. 79.

39 (2016. 6) 31
 5.
(Douglas Gordon), <
(Dj vu)>, 2000, 3
.

. -
, -
, ,
(
DVD), (iconoclasm) .

. <24 (24
Hour Psycho, 1993)> <
(Psycho)>(1960) 2 , <(Dj vu)>(2000)(
5) <(D.O.A)>(1950) 1/23
, 1/24, 1/25 3

.
,
.
<>
.43

43.  1992 <>

32
 6. (Candice Breitz), <(Him)>, 2008, 7 .

(time coding)
(1/24) (<24 > 1/2, <
> 1/23 1/25) .44

. ,

.
DVD -

<24 > . Amy

Taubin,24 Hour Psycho
, in Spellbound: Art and Film, exhibition catalogue (London: Hayward Gallery,
1996), p. 70 .
44.  (Philp Monk) -
. <24 >
. Philip Monk, Double-Cross: The Hollywood Films

of Douglas Gordon (Toronto, Canada: The Power Plant, 2003), p. 88.

39 (2016. 6) 33
.45
. <(Him)>(2008)( 6) <(Her)>(2008)
(Jack Nicholson) (Meryl Streep) 7
,
- .
(
)
.
,
.
,
.
,
,
.

IV.

.



.

45.  (Nancy Spector) <24 >

, in Douglas Gordon, ed. Russell Ferguson (Cambridge, MA: MIT
. Nancy Spector,Trust Me
Press, 2001), p. 16.

34
.

.

( , 3 ,

) .

.

.


. D. N. (D. N.
Rodowick)

,
.
46
.


.

.
,
, .

, -

46. D. N. Rodowick, The Virtual Life of Film (Cambridge, MA: Harvard University Press, 2007), p. 41.

39 (2016. 6) 35
,
. ,
,
1990 ,
.

(Keywords)
(moving image), (cinematic video installation),
(hybridization), (temporalization), (spatialization), -(post-cinema),
(video art)
2016 4 28 2016 5 1 2016 5 9

36


Aitken, Doug.A Thousand Words: Doug Aitken Talks about Electric Earth
, Artforum ,
Vol. 38, No. 9 (May 2000), pp. 160-161.
Balsom, Erika. Exhibiting Cinema in Contemporary Art . Amsterdam: Amsterdam
University Press, 2013.
, in Black Box Illuminated , eds. Sara Arrhenius,
Bellour, Raymond.Of An Other Cinema
Magdalena Malm, and Cristina Ricupero. IASPIS and Propexus, Sweden; NIFCA,
Finland, 2003, pp. 39-62.
_______.The Battle of Images, in Future Cinema: The Cinematic Imaginary After Film ,
eds. Jeffrey Shaw and Peter Weibel. Cambridge, MA: MIT Press, 2003, pp. 56-59.
_______.Challenging Cinema , in Screen-based Art , eds. Annette W. Balkema and Henk
Slager. (Amsterdam, The Netherlands: Rodopi, 2000, pp. 35-43.
Birnbaum, Daniel. Chronology . New York: Lukas& Sternberg, 2005.
Bruno, Giuliana.Collection and Recollection: On Film Itineraries and Museum Walks
, in
Camera Lucida, Camera Obscura: Essays in Honor of Annette Michelson , eds. Richard
Allen and Malcolm Turvey. Amsterdam, The Netherlands: Amsterdam University
Press, 2003, pp. 231-260.
Cubitt, Sean. Timeshift: On Video Culture . New York: Routledge, 1991.
Duguet, Anne-Marie.Scenography of the Image , in Screen-based Art , eds. Annette W.
Balkema and Henk Slager. Amsterdam, The Netherlands: Rodopi, 2000, pp. 81-87.
Elsaesser, Thomas.Harun Farocki: Filmmaker, Artist, Media Theorist , Harun Farocki:
Working on the Sight-line , ed. Thomas Elsaesser. Amsterdam, Amsterdam University
Press, 2004, pp. 11-42
Elwes, Catherine. Video Art: A Guided Tour . London: I. B. Tauris, 2005.
Folwer, Catherine.Room for Experiment: Gallery Films and Vertical Time from Maya
Deren to Eija-Liisa Ahtila, Screen , Vol. 45, No. 4 (Winter 2004), pp. 324-343.
Frohne, Ursula.Dissolution of the Frame: Immersion and Participation in Video
, in Art and The Moving Image: A Critical Reader , ed. Tanya Leighton
Installations
(London: Tate Publishing, 2008), pp. 371-385.
Hansen, Mark. B.N.,Technical Repetition and Digital Art, or Why theDigitalin
Digital Cinema is not theDigitalin Digital Technics , in Technology and Desire: The

39 (2016. 6) 37
 Transgressive Art of Moving Images , eds. Rania Gaafar and Martin Schulz. London:
Intellect, 2014, pp. 77-101.
Huffman, Kathy Rae.Video and Architecture: Beyond the Screenin Ars Electronica:
Facing the Future , ed. Timothy Druckrey. Cambridge, MA: MIT Press, 1999, pp.
135-139.
Iles, Chrissie.Issues in the New Cinematic Aesthetic in Video , in Saving the Image: Art
after Film , eds. Tanya Leighton and Pavel Bcher. Glasgow: Center for Contemporary
Arts, 2003, pp. 129-141.
_______.Between the Still and Moving Images , in Into the Light: The Projected Image in
American Art 1964-1977 , ed. Chrissie Iles. New York: Whitney Museum of American
Art, 2001, pp. 33-69.
_______. Video and Film Space , in Space, Site, Intervention: Situating Installation Art , ed.
Erika Suderburg. Minneapolis, MN: University of Minnesota Press, 2000, pp. 252-
262.
Joselit, David.Inside the Light Cube: Pierre Huyghe s Streamside Day Follies and the Rise
of Video Projection , Artforum , Vol. 42, No. 7 (March 2004), pp. 154-159.
Kotz, Liz.Video Projection: The Space between Screens , in Art and The Moving Image:
A Critical Reader , ed. Tanya Leighton. London: Tate Publishing, 2008, pp. 371-385.
Mondloch, Kate. Screens: Viewing Media Installation Art . Minneapolis, MN: University of
Minnesota Press, 2010.
_______.Thinking through the Screen: Media Installation, Its Spectator, and the Screen ,
Doctoral Dissertation, Department of Art History, University of California, Los
Angeles, 2005.
Monk, Philip. Double-Cross: The Hollywood Films of Douglas Gordon . Toronto,
Canada: The Power Plant, 2003, pp. 149-151.
Pani, Dominique.le cinma expos: flux contre flux , Art Press , No. 287 (February
2003), pp. 24-29.
_______. Le temps expos: Le cinma de la salle aumuse . Paris: Cahiers du Cinma, 2002.
_______.la retour du flneur/The Return of the Flneur , Art Press , No. 255 (March
2000), pp. 33-41.
Rees, A. L..Projecting Back: UK Film and Video Installation in the 1970s , Millennium
Film Journal , No. 52 (Winter 2009/2010), pp. 57-71.
Rodowick, D. N.. The Virtual Life of Film . Cambridge, MA: Harvard University Press,
2007.
Royoux, Jean-Christophe.Towards a Post-Cinematic Space-Time (From an Ongoing
Inventory), in Black Box Illuminated , eds. Sara Arrhenius, Magdalena Malm, and

38
 Cristina Ricupero (IASPIS and Propexus, Sweden; NIFCA, Finland, 2003), pp. 107-
120.
, Art Press , No. 262
Royoux, Jean-Christophe.Cinema as Exhibition, Duration as Space
(November 2000), pp. 26-31.
_______.Remaking Cinema , in Cinma Cinma: Contemporary Art and theCinematic
Experience , exhibition catalogue, Stedelijk Van Abbemuseum Eindhoven/NAI
Publishers, Rotterdam, 1999, pp. 21-27.
, in Douglas Gordon , ed. Russell Ferguson. Cambridge, MA:
Spector, Nancy.Trust Me
MIT Press, 2001, pp. 11-20.
Spielmann, Yvonne. Video: A Reflexive Medium . Cambridge, MA: MIT Press, 2008.
Taubin, Amy.24 Hour Psycho , in Spellbound: Art and Film , exhibition catalogue,
London: Hayward Gallery, 1996, pp. 70-75.
Trodd, Tamara.Introduction: Theorising the Projected Image , in Screen/Space:
The Projected Image in Contemporary Art , ed. Tamara Trodd. Manchester, UK:
Manchester University Press, 2011, pp. 1-22.
Walsh, Maria.Cinema in the Gallery - Discontinuity and Potential Space in Salla Tykk
, Senses of Cinema , No. 28 (2003), online; http://www.sensesofcinema.
s Trilogy
com/2003/28/salla_tykka_trilogy/ (2016 2 13 ).

39 (2016. 6) 39


1990

.
,

.-



.

(temporalization)
(spatialization) . ,
, , ,

,

.

40
Abstract
Hybridizations of Film and Video in Cinematic Video Installations

Jihoon Kim

Numerous artists and established filmmakers since the 1990s have extensively used
video technologies to draw on and manipulate cinematic image and narrative, such that
their works explore the sensorial and mnemonic power of cinema as an art of spectacle
and how influential and global cinema was in shaping their memories and artistic ideas.
This paper characterizes these works as cinematic video installations, analyzing the
ways in which the medial components of film and video are correlated. Providing a
critical remapping of how cinematic video installations have been discussed in both the
discourses of post-cinema and those of contemporary art, I argue that cinematic video
installations must be viewed as a complex hybridization of cinematic and video-based
technologies. To demonstrate this, I identify in this paper spatialization (materializing
the spectatorial experience of the film image, montage, and narrative in the theatrical or
architectural forms of screen-related apparatuses) and temporalization (manipulating
the time of the image by means of digital videos capacities) as two key operations that
video technologies execute in adopting and altering the components and historical traces
of cinema. By performing formal analysis of the installation pieces by several artists and
filmmakers such as Harun Farocki, Kutlu Ataman, Doug Aitken, Douglas Gordon,
and Candice Breitz, I demonstrate that the ambiguous cohabitation of cinematic and
video-based specificities occurs not only in the domain of the image space, but also
in the formation of the apparatus that frames the image and determines the viewers
relation to the image.

39 (2016. 6) 41