Steve Mcqueen: A Narrative Analysis

Topics: Ontology, Metaphysics / Pages: 3 (715 words) / Published: Jan 8th, 2017
An example can be seen in Steve McQueen’s Deadpan (1997), shown in a ‘black box’ installation space covering a wall entirely, from floor to ceiling. The black & white film scene presents McQueen re-staging a scene from the Buster Keaton silent movie Steamboat Bill, Jr. (1928). He stands still with his back to a wall of a house that slowly falls toward him, that leaves him unhurt due to a window space in the wall that falls accurately over the place where he stands. The installation has been designed so that the lower edge of the projected film is flush with the floor of the intervention space, so that it looks as though the wall of the house were actually falling into the room where the viewer stands, that is to say, falling ‘out’ of the projected …show more content…
Slowing down Hitchcock’s Psycho (1960) so that it took 24 hours to play, Gordon disturbed the continuum of the film. Through experiential dynamic and his created affect, the almost static images return the medium to the state of a raw material. In addition, Gordon deactivates the linear narrative and in doing so shifts the emphasis to the presence of the moment, the isolation of which restructures the relationship between installation and viewer. Similarly, the aesthetic experience of his other works include states of mind and, it can be proposed, affect through technology, which serve to intensify the space of film object and viewer …show more content…
He referred to matter that has been shaped by human beings for some human purpose, while also existing separately from the human. This matter would refer to all forms of technical things, across a varying range of material states and conditions. Stiegler’s text was most centred on ‘how numerous forms of this matter operate as forms of externalised memory, and how that memory shapes primary retention (perception) and secondary retention (memory)’. Relevantly, Steigler's work does offer ways for thinking about how technical objects are affective. For technical objects, that which is perceived emerges from the materiality and their threshold, which both contain, limit and enable the object

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