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Accommodating the mess: the politics of re-appropriation in Duncan Campbell's It For Others (2013)

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Accommodating the mess : the politics of re-appropriation in Duncan Campbell's It For Others (2013). / Blair, Paula.

2015. Paper presented at The Real and the Intermedial, Cluj-Napoca, Romania.

Research output: Contribution to conference - Without ISBN/ISSN Conference paperpeer-review

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Blair P. Accommodating the mess: the politics of re-appropriation in Duncan Campbell's It For Others (2013). 2015. Paper presented at The Real and the Intermedial, Cluj-Napoca, Romania.

Author

Blair, Paula. / Accommodating the mess : the politics of re-appropriation in Duncan Campbell's It For Others (2013). Paper presented at The Real and the Intermedial, Cluj-Napoca, Romania.

Bibtex

@conference{3e57d4cbe1a343ec9393d1f94a62af23,
title = "Accommodating the mess: the politics of re-appropriation in Duncan Campbell's It For Others (2013)",
abstract = "In response to Marker and Resnais{\textquoteright}s collaborative meditation on art and colonialism Statues Also Die, Duncan Campbell{\textquoteright}s video installation It For Others takes a complex approach to presenting arguments around the commodification of art and culture. It does this by providing a kaleidoscopic discourse on the act of appropriation. An enthusiast of poststructuralist methodologies, Campbell uses appropriated images to comment on acts of image appropriation. One section interrogates constructed histories, particularly the mediatized plural histories of the Northern Ireland conflict, by examining the appropriation of a photograph of IRA volunteer Joe McCann. He was killed in 1972, soon after which a photo of him silhouetted with a rifle against the sunset overlaid with RESISTANCE was circulated. As the film shows this image appeared on Christmas stockings similar to Che Guevara{\textquoteright}s face appearing on commercially sold t-shirts. The paper will analyse the network of mise en abyme in the film and discuss the deeper implications of hypermediated image reappropriation. Especially regarding conflict, the politically aestheticized re-presentation of media artefacts reflects a resistance to systems of official remembering and forgetting propagated by industrial and state-governed media networks.",
author = "Paula Blair",
year = "2015",
language = "English",
note = "The Real and the Intermedial ; Conference date: 23-10-2015 Through 24-10-2015",

}

RIS

TY - CONF

T1 - Accommodating the mess

T2 - The Real and the Intermedial

AU - Blair, Paula

PY - 2015

Y1 - 2015

N2 - In response to Marker and Resnais’s collaborative meditation on art and colonialism Statues Also Die, Duncan Campbell’s video installation It For Others takes a complex approach to presenting arguments around the commodification of art and culture. It does this by providing a kaleidoscopic discourse on the act of appropriation. An enthusiast of poststructuralist methodologies, Campbell uses appropriated images to comment on acts of image appropriation. One section interrogates constructed histories, particularly the mediatized plural histories of the Northern Ireland conflict, by examining the appropriation of a photograph of IRA volunteer Joe McCann. He was killed in 1972, soon after which a photo of him silhouetted with a rifle against the sunset overlaid with RESISTANCE was circulated. As the film shows this image appeared on Christmas stockings similar to Che Guevara’s face appearing on commercially sold t-shirts. The paper will analyse the network of mise en abyme in the film and discuss the deeper implications of hypermediated image reappropriation. Especially regarding conflict, the politically aestheticized re-presentation of media artefacts reflects a resistance to systems of official remembering and forgetting propagated by industrial and state-governed media networks.

AB - In response to Marker and Resnais’s collaborative meditation on art and colonialism Statues Also Die, Duncan Campbell’s video installation It For Others takes a complex approach to presenting arguments around the commodification of art and culture. It does this by providing a kaleidoscopic discourse on the act of appropriation. An enthusiast of poststructuralist methodologies, Campbell uses appropriated images to comment on acts of image appropriation. One section interrogates constructed histories, particularly the mediatized plural histories of the Northern Ireland conflict, by examining the appropriation of a photograph of IRA volunteer Joe McCann. He was killed in 1972, soon after which a photo of him silhouetted with a rifle against the sunset overlaid with RESISTANCE was circulated. As the film shows this image appeared on Christmas stockings similar to Che Guevara’s face appearing on commercially sold t-shirts. The paper will analyse the network of mise en abyme in the film and discuss the deeper implications of hypermediated image reappropriation. Especially regarding conflict, the politically aestheticized re-presentation of media artefacts reflects a resistance to systems of official remembering and forgetting propagated by industrial and state-governed media networks.

M3 - Conference paper

Y2 - 23 October 2015 through 24 October 2015

ER -