Week 4: 4D


Douglas Gordon, 24 hours 'psycho'

Scottish video and installation artist. His work is often based on a disruption of perception; by making his audience aware of their own fugitive subjectivity, he questions how we give meaning to our experience of things. An early text work, Meaning and Location (1990), installed at University College London, demonstrates not only his emphasis on the importance of context, but also his exploration of semantic anomalies. By printing the same text twice with a misplaced comma (‘Truly I say to you, today you will be with me in paradise. Truly I say to you today, you will be with me in paradise’), he compromises and multiplies the original meaning of the words from the gospel of St Luke. In the 1994 sound installation Something Between My Mouth and Your Ear (London, B. and M. Starkmann priv. col.), he played, in an entirely blue room, 30 popular songs that were current in the six months preceding his birth. This concern with memory and perception was developed in the acclaimed video projection 24 Hour Psycho (1993; Wolfsburg, Kstmus.), a rear-projected installation of Hitchcock’s film, slowed down to last an entire day. Gordon focuses the viewer’s attention both on the intricate detail of the film in its naked state, as a progression of stills, as well as on their own recollections of a cinema classic. In 1997 he represented Britain at the Venice Biennale. (via http://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-1996/turner-prize-1996-artists-douglas-gordon)

24 Hour Psycho is the title of an art installation created by artist Douglas Gordon in 1993. The work consists entirely of an appropiation of Alfred Hitchcock's 1960 Psycho slowed down to approximately two frames a second, rather than the usual 24. As a result, it lasts for exactly 24 hours, rather than the original 109 minutes. The film was an important work in Gordon's early career, and is said to introduce themes common to his work, such as "recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light." (via wikipedia)


Condice Breitz, 'Her', 2008 / 'Thriller'


'Meshes of the Afternoon'

Meshes of the Afternoon is one of the most influential works in American experimental cinema. A non-narrative work, it has been identified as a key example of the "trance film," in which a protagonist appears in a dreamlike state, and where the camera conveys his or her subjective focus. The central figure in Meshes of the Afternoon, played by Deren, is attuned to her unconscious mind and caught in a web of dream events that spill over into reality. Symbolic objects, such as a key and a knife, recur throughout the film; events are open-ended and interrupted. Deren explained that she wanted "to put on film the feeling which a human being experiences about an incident, rather than to record the incident accurately."

Made by Deren with her husband, cinematographer Alexander Hammid, Meshes of the Afternoon established the independent avant-garde movement in film in the United States, which is known as the New American Cinema. It directly inspired early works by Kenneth Anger, Stan Brakhage, and other major experimental filmmakers. Beautifully shot by Hammid, a leading documentary filmmaker and cameraman in Europe (where he used the surname Hackenschmied) before he moved to New York, the film makes new and startling use of such standard cinematic devices as montage editing and matte shots. Through her extensive writings, lectures, and films, Deren became the preeminent voice of avant-garde cinema in the 1940s and the early 1950s. (via https://www.moma.org/collection/works/89283)


'Spellbound'. (Dali. Dream Sequence from 'Spellbound'.)


'Wild Strawberries'.

(Bergman's Dreams)


'Un Chien Andalon'




'Filmstudie' (1925), Hans Richter.


'Dreamwork' (2002), Peter Tscherkassky.


'Chumlum' (1964), Dir. Ron Rice





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