On March 14 in Cambridge, MA, Raymond Bellour and Laura Mulvey on cinema and contemporary art at Harvard’s Carpenter Center for the Visual Arts.
“La Querelle des dispositifs: Raymond Bellour and Laura Mulvey on Cinema and Contemporary Art”
Thursday, March 14
Carpenter Center Room B-04
Laura Mulvey and Raymond Bellour are two of the most prominent thinkers to ever have approached the question of cinema. In this co-presentation, each will recapitulate their positions on the cinematic medium and attend to its place in a shifting media landscape, one in which celluloid has become digital video, cinematic projection abandons the theatre for the museum, and individual spectatorial architectures change ever more rapidly. One could ask, where is cinema? By bringing the arguments that Mulvey puts forth in Death 24x a Second: Stillness and the Moving Image (2006) and Bellour in La Querelle des dispositifs. Cinéma – installations, expositions (2012) into conjunction and opposition with one another, the pair will offer, critique, and expand their individual understanding of this starkly changing medium, and perhaps bring us that much closer to an answer.
Laura Mulvey has been writing about film and film theory since the mid-1970s. She has published Visual and Other Pleasures (1989, new updated edition 2009), Fetishism and Curiosity (1996 new edition forthcoming), Citizen Kane (1996 new edition 2012), Death 24x a Second: Stillness and the Moving Image (2006). In the late 1970s and early 1980s, she co-directed six films with Peter Wollen including Riddles of the Sphinx (1978) and Frida Kahlo and Tina Modotti (1980). In 1994, she co-directed with artist/filmmaker Mark Lewis Disgraced Monuments (Channel 4). She is Professor of Film and Media Studies at Birkbeck College, University of London and Director of the Birkbeck Institute for the Moving Image.
Raymond Bellour is Director of research emeritus at C.N.R.S., Paris. Bellour is interested on one side by romantic literature (the Brontës, Ecrits de jeunesse, 1972; Alexandre Dumas, Mademoiselle Guillotine, 1990), and contemporary (Henri Michaux, 1965, edition of his complete works in “La Pléïade”, vol. I, 1998, vol. II, 2001, vol. III, 2004, Lire Michaux, 2011). He is interested on the other side by cinema (Le Western, 1966, L’Analyse du film, 1979, Le Corps du cinéma. Hypnoses, émotions, animalités, 2009). The mixtures, the passages, the mixed states of images – painting, photography, cinema, video, virtual images – as well as by the relations between words and images – capture his interest as well (the exhibition Passages de l’image, 1989 ; the volumes L’Entre-Images. Photo, cinéma, vidéo, 1990, Jean-Luc Godard: Son+Image, 1992; L’Entre-Images 2. Mots, images, 1999, La Querelle des dispositifs. Cinéma – installations, expositions, 2012 ; the exhibitions States of Images : Instants and Intervals, 2005, Thierry Kuntzel, Lumières du temps, 2006, Thierry Kunztel-Bill Viola. Deux éternités proches, 2010). Since its inception in 1991, Bellour has worked with Serge Daney to produce Trafic, the influential “revue de cinema.”
Carpenter Center for the Visual Arts
24 Quincy Street
Cambridge, MA 02138