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A MOVIE BY ... Appropriation, authorship, and the ecologies of the moving image

机译：MOVIE BY ...挪用权，著作权和动态图像的生态

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摘要

This essay positions two works of experimental moving-image appropriation art — Bruce Conner’s seminal 1958 found-footage film A MOVIE and a recent ‘remake” by the artist and filmmaker Jen Proctor — as models for a hybrid artistic-scholarly form of materialist media theory through which to examine the ways in which media are produced and circulate. The essay argues that both Conner’s and Proctor’s respective works deploy strategies of appropriation and remix not simply as a form for playful commentary upon contemporary media objects and texts, but crucially as an implicit theoretical framework through which to articulate and expose, on the one hand, the media infrastructures in which the works were made and, on the other, the artists’ own labor within these infrastructures.
机译：本文将实验性运动图像专用艺术的两幅作品（布鲁斯·康纳1958年开创性的电影《电影》和艺术家和电影制片人简·普罗克托尔（Jen Proctor）最近的“翻拍”定位为模型，以混合艺术形式的唯物主义媒体理论通过它检查媒体的生产和流通方式。文章认为，康纳（Conner）和普罗克（Proctor）各自的作品都采用挪用和混用策略，不仅是作为对当代媒体对象和文本进行有趣评论的一种形式，而且至关重要的是，作为一种隐性的理论框架，一方面可以通过它阐明和展示，制作作品的媒体基础设施，以及艺术家在这些基础设施中的工作。

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