{"id":270,"date":"2014-03-11T12:04:52","date_gmt":"2014-03-11T11:04:52","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=270"},"modified":"2014-11-03T19:56:42","modified_gmt":"2014-11-03T18:56:42","slug":"eliclipse","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=270","title":{"rendered":"\u00c9liclipse"},"content":{"rendered":"
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\"Image<\/a><\/p>\n<\/div>\n

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\"eliclipse<\/a><\/p>\n

\u00c9LICLIPSE<\/i>\u00a0multiplie les points de vue sur Paris en recourant \u00e0 un support de communication banale: la carte postale. 154 cartes postales ont \u00e9t\u00e9 coup\u00e9es en bandes verticales et m\u00e9lang\u00e9es deux \u00e0 deux. Le m\u00e9lange des cartes s\u2019est fait selon divers crit\u00e8res parmi lesquels on peut distinguer les crit\u00e8res: politiques, plastiques, historiques, humoristiques, etc. Une fois les objets d\u00e9finis, le film joue une improvisation plus ou moins pr\u00e9par\u00e9e.<\/p>\n

\u0152uvre appartenant au Forum des Images (Vid\u00e9oth\u00e8que de Paris) et au Museum of Modern Art (New York).<\/p>\n

\"Eliclipse<\/a>\u00ab\u00a0In two films by yann beauvais, the issues of architectonic representation and monumentality are dealt with directly. The cut-up postcard and photograph serve as material through which beauvais constructs a recomposition of architectonic space in his films,\u00a0Eliclipse<\/i>\u00a0and\u00a0Sans Titre (1984)<\/i>. In\u00a0Eliclipse<\/i>, postcard images of Parisian landmarks are cut into vertical bands; every other stripe of the image is replaced with a corresponding stripe from another postcard image, resulting in the blend of the figuration of the two images. Intriguingly, this manual collage procedure could be done in video by mixing two images signals with a square wave matrix. The artisanal cut and paste of the actual postcard rather than an electronic interspersion of two signal-based images is, however, a choice which is distinguishes two distinct phases of production, first, a physical cutting of the profilmic object, to be followed by the montage of the film. The bifurcation and intermittancy of images that results is not simply analogous to the video process. It rather insists on the plastic materiality of cutting and montage. The edited film then moves us from one blended combination to another, sites which exist only as the conflation of two referential sites, views simultaneously doubled and bifurcated. Within the ellipsis performed upon the pictorial unity, the insertion of another image which is at once different and similar leads to a consideration of these monumental views as symbolic sites. No longer granted their integral monumental unity, they yield something of their symbolic power as souvenir image.\u00a0\u00bb
\nMaureen Turim in\u00a0The Displacement of Architecture<\/i>, Avant-Garde Films in Cinema & Architecture, Iris n\u00b0 12 M\u00e9ridiens Klincksieck, Paris 1991<\/p>\n

Film belonging to the Forum des Images (Vid\u00e9oth\u00e8que de Paris) and to the Museum of Modern Art (New York).<\/p>\n

 <\/p>\n

\"Eliclipse<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u00c9LICLIPSE\u00a0multiplie les points de vue sur Paris en recourant \u00e0 un support de communication banale: la carte postale. 154 cartes postales ont \u00e9t\u00e9 coup\u00e9es en bandes verticales et m\u00e9lang\u00e9es deux \u00e0 deux. Le m\u00e9lange des cartes s\u2019est fait selon divers crit\u00e8res parmi lesquels on peut distinguer les crit\u00e8res: politiques, plastiques, historiques, humoristiques, etc. Une fois […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[76,84],"class_list":["post-270","post","type-post","status-publish","format-standard","hentry","category-films","tag-city","tag-ville"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/270","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=270"}],"version-history":[{"count":5,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/270\/revisions"}],"predecessor-version":[{"id":951,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/270\/revisions\/951"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=270"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=270"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=270"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}