Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers.

Themesicon: navigation pathArt and Cinematographyicon: navigation pathBroodthaers
 
 
 
 
 

icon: previous page

Waterloo (Napoléon 1769-1969),» which stars Broodthaers sporting a false nose. And, thirdly, a group of found films which were re-edited and re-arranged by Broodthaers, such as «Charlie Chaplin als Filmstar,» and various news reels and commercials. The films were projected by the artist onto a white screen on which the abbreviations fig. 12, fig. 2, fig. 1, fig. A. had been stenciled. («Belga Vox –Mode-20th Century Fox»). What Broodthaers’ cinematic project demonstrates, in sum, is a process of continuous disorganization. Yet, by this very means, «Section Cinéma» provides a faint glimmer of an alternative public sphere; it indicates a social horizon of experience that can only enter representation in a fragmented form. «Section Cinéma» thus commemorates an unrealized, utopian potential of modern technology. A potential, furthermore, that is seized only in the fleeting moment of an arrested image. I have attempted to show where this interpretation of Broodthaers’ project overlaps with arguments that have been advanced elsewhere. However, in the face of current events, I am lead to conceive of Broodthaers’ project in the following, more particular fashion. If the gesture enacted by

 

Section Cinéma can be thought to have a redemptive potential than it was by countering a museum of attractions to the imminent reality of the museum as spectacle.