{"id":2609,"date":"2011-12-22T11:12:00","date_gmt":"2011-12-22T10:12:00","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=2609"},"modified":"2022-12-23T02:23:54","modified_gmt":"2022-12-23T01:23:54","slug":"telephone-de-christian-marclay-1995","status":"publish","type":"post","link":"https:\/\/philippelanglois.net\/lcd\/en\/telephone-de-christian-marclay-1995\/","title":{"rendered":"TELEPHONE de Christian Marclay (1995)"},"content":{"rendered":"<p class=\"wp-block-paragraph translation-block\">For more than thirty years, Christian Marclay has explored the links between the visual and the audible, creating works in which these two distinct forms of expression enrich and confront one another. <em>Telephone <\/em>(1995), one of his first films, can belong as much to <em>Found Footage<\/em> cinema as to structural cinema. Made up of excerpts taken from Hollywood films, drawn from every period, mixing black-and-white and colour film, in all genres and cinematic styles, from the crime film to film noir, from romantic drama to comedy, the film operates through editing a structural logic whose object is the decomposition of a most innocuous action that is nonetheless present in a considerable number of films: namely, making a telephone call.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The film thus breaks down the action of telephoning into the many gestures that make it up: picking up the receiver, dialling the number, the telephone then ringing at either end of the line, followed by the wait, that of the moment when the other party picks up, followed by the inevitable phatic expression \u201chello\u201d in every tone, in every style. Then come snatches of conversation, silences and, finally, the moment of hanging up, multiplied by the editing, according to the mood of each of the protagonists who follow one another on the screen. The film ends as it begins, that is, in a telephone booth, on the doubtful gaze of a woman who has just hung up and seems to wonder about the significance of the telephone call she has just finished. <\/p>\n\n\n\n<p class=\"wp-block-paragraph translation-block\">The credits of <em>Telephone<\/em> specify that the materials used come from the Media Art department of the Wexner Center for the Arts of the University of Ohio.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-video\"><video height=\"480\" style=\"aspect-ratio: 620 \/ 480;\" width=\"620\" controls src=\"https:\/\/philippelanglois.net\/lcd\/wp-content\/uploads\/2022\/12\/Telephones-1995-Christian-Marclay-YouTube.mp4\"><\/video><figcaption class=\"translation-block\"><em>Telephone<\/em> (1995)<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph translation-block\"><em>Telephone<\/em> prefigures <em>The Clock,<\/em> (2011), Christian Marclay\u2019s landmark film, awarded the Golden Lion at the Venice Biennale, an extraordinary film lasting 24 hours, made up of nearly 1,500 film excerpts, based on the same principle as <em>Telephone,<\/em> except that instead of dissecting an action by breaking down its gestures, each sequence <em>contains<\/em> an indication of the time within each shot. When <em>The Clock<\/em> is screened in a museum, no matter the city, anywhere in the world,  the film is designed to be set and synchronised to the time zone of the place where it is shown, thus creating for the viewer a confusion between the different temporalities that collide before the viewer\u2019s eyes; the time inside the film, the temporality of the film itself, synchronised with the time at which the film is being watched, in a pure moment of temporal jubilation that, in an instant, embraces the whole history of cinema.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Christian Marclay The Clock 10h15 Nuit Blanche the a tre de Chaillot\" src=\"https:\/\/player.vimeo.com\/video\/112677418?h=d9cf248d02&amp;dnt=1&amp;app_id=122963\" width=\"1280\" height=\"720\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption>The Clock (2011) ideally start this excerpt at 10:15 PM precisely <\/figcaption><\/figure>","protected":false},"excerpt":{"rendered":"<p>Depuis plus de 30 ans, Christian Marclay explore les liens entre le visuel et l\u2019audible, cr\u00e9ant des \u0153uvres dans lesquelles ces deux expressions distinctes s\u2019enrichissent et se confrontent l\u2019une l\u2019autre.\u00a0Telephone (1995), l&rsquo;un de ses premiers films, peut appartenir autant au cin\u00e9ma de Found Footage qu&rsquo;au cin\u00e9ma structurel. Constitu\u00e9 \u00e0 partir de pr\u00e9l\u00e8vement dans des films [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41,53,175,7,6,1],"tags":[119,180,138,43],"class_list":["post-2609","post","type-post","status-publish","format-standard","hentry","category-auditorium","category-extrait-video","category-films","category-les-cloche-datlantis","category-musee-du-son","category-uncategorized","tag-cinema-experimental","tag-cinema-structurel","tag-found-footage","tag-installation"],"_links":{"self":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts\/2609","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/comments?post=2609"}],"version-history":[{"count":40,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts\/2609\/revisions"}],"predecessor-version":[{"id":2662,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts\/2609\/revisions\/2662"}],"wp:attachment":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/media?parent=2609"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/categories?post=2609"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/tags?post=2609"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}