Home > Research > Publications & Outputs > Accommodating the mess
View graph of relations

Accommodating the mess: the politics of appropriation in 'It For Others' (2013)

Research output: Contribution to journalJournal article

Published

Standard

Accommodating the mess : the politics of appropriation in 'It For Others' (2013). / Blair, Paula Ellen Ann.

In: Acta Universitatis Sapientiae: Film & Media Studies, Vol. 12, No. 1, 09.2016, p. 149-166.

Research output: Contribution to journalJournal article

Harvard

Blair, PEA 2016, 'Accommodating the mess: the politics of appropriation in 'It For Others' (2013)', Acta Universitatis Sapientiae: Film & Media Studies, vol. 12, no. 1, pp. 149-166. https://doi.org/10.1515/ausfm-2016-0008

APA

Vancouver

Author

Blair, Paula Ellen Ann. / Accommodating the mess : the politics of appropriation in 'It For Others' (2013). In: Acta Universitatis Sapientiae: Film & Media Studies. 2016 ; Vol. 12, No. 1. pp. 149-166.

Bibtex

@article{536180a261f64171933505bcb258f124,
title = "Accommodating the mess: the politics of appropriation in 'It For Others' (2013)",
abstract = "In response to Chris Marker and Alain Resnais{\textquoteright}s collaborative meditation on art and colonialism in Statues Also Die (1953), Duncan Campbell{\textquoteright}s video installation It For Others (2013) takes a complex approach to presenting a Marxist criticism of the commoditization of art and culture. This article considers the intermedial and intertextual properties of It For Others as an example of convergence culture that transcends postmodern quotation and pastiche. While the film is apparently a bricolage of visual artefacts, it is in fact an intricately woven audiovisual essay concerned with the appropriation of not only colonized objects as its narration makes clear, but also of still images, moving images, written texts, sound samples, and the labour that produced them. The article examines how the film troubles notions of documentary realism and truth through its acts of appropriation that reflexively criticize the commercial appropriation and commoditization of artworks and histories. It also reflects on the film{\textquoteright}s Marxist approach to related issues around authorship, ownership and access to artworks, particularly in the light of the film{\textquoteright}s acknowledgement in prize culture.",
keywords = "video installations, intermediality, appropriation, intertextuality, circulation ",
author = "Blair, {Paula Ellen Ann}",
note = "{\textcopyright} 2016 Paula Blair, published by De Gruyter Open. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. (CC BY-NC-ND 3.0); The Real and the Intermedial ; Conference date: 23-10-2015 Through 24-10-2015",
year = "2016",
month = sep
doi = "10.1515/ausfm-2016-0008",
language = "English",
volume = "12",
pages = "149--166",
journal = "Acta Universitatis Sapientiae: Film & Media Studies",
issn = "2066-7779",
publisher = "De Gruyter",
number = "1",

}

RIS

TY - JOUR

T1 - Accommodating the mess

T2 - The Real and the Intermedial

AU - Blair, Paula Ellen Ann

N1 - © 2016 Paula Blair, published by De Gruyter Open. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. (CC BY-NC-ND 3.0)

PY - 2016/9

Y1 - 2016/9

N2 - In response to Chris Marker and Alain Resnais’s collaborative meditation on art and colonialism in Statues Also Die (1953), Duncan Campbell’s video installation It For Others (2013) takes a complex approach to presenting a Marxist criticism of the commoditization of art and culture. This article considers the intermedial and intertextual properties of It For Others as an example of convergence culture that transcends postmodern quotation and pastiche. While the film is apparently a bricolage of visual artefacts, it is in fact an intricately woven audiovisual essay concerned with the appropriation of not only colonized objects as its narration makes clear, but also of still images, moving images, written texts, sound samples, and the labour that produced them. The article examines how the film troubles notions of documentary realism and truth through its acts of appropriation that reflexively criticize the commercial appropriation and commoditization of artworks and histories. It also reflects on the film’s Marxist approach to related issues around authorship, ownership and access to artworks, particularly in the light of the film’s acknowledgement in prize culture.

AB - In response to Chris Marker and Alain Resnais’s collaborative meditation on art and colonialism in Statues Also Die (1953), Duncan Campbell’s video installation It For Others (2013) takes a complex approach to presenting a Marxist criticism of the commoditization of art and culture. This article considers the intermedial and intertextual properties of It For Others as an example of convergence culture that transcends postmodern quotation and pastiche. While the film is apparently a bricolage of visual artefacts, it is in fact an intricately woven audiovisual essay concerned with the appropriation of not only colonized objects as its narration makes clear, but also of still images, moving images, written texts, sound samples, and the labour that produced them. The article examines how the film troubles notions of documentary realism and truth through its acts of appropriation that reflexively criticize the commercial appropriation and commoditization of artworks and histories. It also reflects on the film’s Marxist approach to related issues around authorship, ownership and access to artworks, particularly in the light of the film’s acknowledgement in prize culture.

KW - video installations

KW - intermediality

KW - appropriation

KW - intertextuality

KW - circulation

U2 - 10.1515/ausfm-2016-0008

DO - 10.1515/ausfm-2016-0008

M3 - Journal article

VL - 12

SP - 149

EP - 166

JO - Acta Universitatis Sapientiae: Film & Media Studies

JF - Acta Universitatis Sapientiae: Film & Media Studies

SN - 2066-7779

IS - 1

Y2 - 23 October 2015 through 24 October 2015

ER -