The external hypothesis (Birth of electronic space #6)

Of course, in this context, where it is explicitly considered the experimentation of the internal spatial limits of film, one must be aware of the corresponding external hypothesis. In fact, these two dimensions or movements we just referred to happened to give way to a conception of the passages (the passing) of images that constituted the post-cinephile getaway that ended with late modern cinema, after so much exalted promises yet to keep. According to this conception – which had also Skorecki and Daney as sombre precursors – the horizon of cinema was now not a direct relation with the “real”, but a reflexive mediation on other images proliferation, mainly television, but also video and advertising (and, more recently, multimedia, installations, etc.).

Images, like incorporeal entities, would slide on top of each other without too many worries concerning medium specificity. And, in a way, aren’t we now allowed to say that installations of cinematic inspiration are indeed the materialization of that emancipated reflexive spirit? But it’s important to state that this belief in the passages of images was (and still is) based on the conviction that “modernity effects”, in fact, every effect, exists autonomously and is “exportable” to a new media. [to be continued]