Currently in preparation

Cinesthesia: Museum Cinema and the Curated Screen

Garrett Stewart (University of Iowa)

Discourses of cinephilia – both old and new – have displayed a certain anxiety about opening film up and out to the unprogrammed zones of the museum, a space too dispersed and variable for the invested look. The museumised “movie,” with a spectator who is ambulatory rather than passive, demands a form of attention quite different from either the theatrically-projected film or the mobilised platform of its downloaded version. Breaking with the modes of intimacy and absorption associated with these more common movie-viewing experiences, galleries have gone public with the extracted, looped or otherwise installed moving image, in everything from its fetishized 35mm form, through analogue and digital video to the latest incorporation of participatory virtual reality. When kinetic imaging enters the museum, it becomes one among the “media” in a new way: a time-based artefact under figurative “reframing” among other modes of picture making, its material parameters investigated as objet rather than dispositif. The purpose of Cinesthesia: Museum Cinema and the Curated Screen is to explore the reciprocal redefinition of both moving images and wall art that is initiated by this museal estrangement of the “motion picture.” As the volume title suggests as well, this often entails a dimension of strained synesthesia in the disjunctures of non-synchronised recording. Altogether, curation re-frames both the audiovisual pace and plasticity of the seventh art in the rear-view mirror of media archaeology.

January 2019, 99 pp., 5.5” x 7.5”. Paperback, ISBN 978-1-927852-09-5, $12.95.

Garrett Stewart is the James O. Freedman Professor of Letters at the University of Iowa. Beyond many books on Victorian fiction, narrative theory and literary poetics, his film, art and media studies include Between Film and Screen: Modernism’s Photo Synthesis (1999), The Look of Reading: Book, Painting, Text (2006), Framed Time: Toward a Postfilmic Cinema (2007), Bookwork: Medium to Object to Concept to Art (2011), Closed Circuits: Screening Narrative Surveillance (2015) and Transmedium: Conceptualism 2.0 and the New Object Art (2017). He was elected in 2010 to the American Academy of Arts and Sciences.