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While all previous chapters discuss art in film, the paragraphs dealing with the ‘cinematic’ in contemporary photography and video art invert this relation by focusing on film in art. This is also the scope of the sixth and last chapter, which discusses the omnipresence of the filmic image in contemporary art museums and exhibitions. Not coincidentally, the conquest of the museum by the projected image coincided with the notions of the ‘death of cinema’ and the age of ‘post-cinema.’ Such ideas were particularly expressed by Godard in his Histoire(s) du cinéma, which presented itself not only as a reflection on the relations between film and history but also as an investigation of the relation between cinema and the other arts, especially the pictorial tradition. This chapter shows how modernist cinema found refuge in the museum, where it metamorphosed into new phenomena such as video art or film installations. In particular, this chapter focuses on the ways artists have appropriated the films of Hitchcock.

This chapter examines the installations of Péter Forgács. The installations of Forgács are life spaces. The space is distributed with precision: the object creates a logical, as well as emotional, web. In Hungarian Kitchen Video Art, the process of demonstration creates a new space that becomes natural by way of unnaturalness. Forgács uses a corner in which to install his “kitchen art,” an ironic reference to the use of corners to display religious icons in Russian culture. The installations of Forgács are analytical in the literal meaning of the word. In The Case of My Room, for example, the installation divides one singe space into two rooms reminiscent of the two halves of the brain.

Explores the 1966 New York Film Festival as the paradoxical zenith and culmination of the Expanded Cinema’s popularity within the “film art” community, and the subsequent turn away from established institutions of art and film. The first section describes Warhol’s creation of the “Factory” as an alternative space in which the line between media exhibition and media production is purposely blurred. Situates Warhol’s innovative use of videotape within Outer and Inner Space (1965) in the context of his earlier practice of film and audiotape recording, and contends that this cinematic double portrait of Edie Sedgwick exemplifes the site of the Factory itself an experiment in the the social and psychological ramifications of feedback in the televisual era. The second section explores a radically different work from the same moment was similarly invested in conjoining film and video in an exploration of social feedback: Ken Dewey’s Selma Last Year (1966). Rather than creating his own alternative space, Dewey drew from his longstanding interest in context and site-specific performance to stage an intervention during the New York Film Festival that demanded his audience question their own spectatorship of the traumatic revolution that was the American civil rights movement.