Blanchett's Dadaist eulogy has been redubbed in the feature film. Julian Rosefeldt, Manifesto, 2015. Courtesy of the artist. 

Blanchett's Dadaist eulogy has been redubbed in the feature film. Julian Rosefeldt, Manifesto, 2015. Courtesy of the artist. 

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Experimental films have historically had a contested and marginalized position within film exhibition. With his Manifesto (2015), which has been exhibited both as a video installation in art galleries and as a feature film in movie theatres, Julian Rosefeldt collapsed the barriers between these exhibition spaces. By performing a comparative analysi...

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... in the theatre, the spectator can choose to sit close to the screen, further back, to the middle, left, or right side, but will experience the work from one and the same vantage point for its entirety. Hugo Münsterberg has theorized this kind of spectatorship as passive, arguing that the spectator is experiencing involuntary at- tention, and is unable to choose to focus on anything but what the screen presents. 11 Psychoanalytic film theorists Christian Metz 12 and Jean-Louis Baudry have extended and developed Münsterberg's thesis in relation to the work of Sigmund Freud and Jacques Lacan. Baudry, for instance, compared the immobile experience of the spec- tator to a sleeping state, arguing that the cinemagoer's experience is similar to that of the prisoners watching shadows on the wall of Plato's cave. 13 On the contrary, then, in installations, the spectators' attention is voluntary, as they make active selections about which screen to watch, for how long, and which to look at afterward. About eight minutes into the installation, Blanchett turns directly toward the camera, breaking the 'fourth wall' , addressing the spectator directly on all twelve screens. Westgeest argues that directly addressing the viewer is one of the most powerful strategies of early television, and a strategy that was later appropriated in video installation art. 14 As Blanchett's characters perform monologues at different pitch levels, synthesizing into complete chords, the harmonies turn the large exhi- bition hall into a musical chamber, all voices synchronized as a choir. The effect is astoundingly impressive, and Blanchett's presence is inescapable. An attempt is made to replicate this effect in the feature film. While most of these monologues have been cut out of the episodes of the film, some have been left intact, primarily because it would be impossible to cut around them. Particularly in the Dadaist funeral episode, in which Blanchett delivers a eulogy, a minute-long shot has been redubbed with a more 'naturally' human voice [ Figure 4]. Similarly, the punk-rocker and the puppeteer have been redubbed as well. After the final episode chronologically in the feature film -the episode on Film -all monologues return in their original form, by employing a split screen. While in the installation, all tones are synchronized to start at the same moment, in the feature film, the different tones emerge one by one, with the image soon following. The voices unite in choir, this time side by side, but the effect is not the same, primarily for two ...

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A tanulmány a mozgóképes installációk fenomenológiai elemzésére tesz kísérletet: azt vizsgálja, ahogyan a médiainstalláció létrehozza a „nézői tapasztalat architektúráját” (Mondloch 2010). A tanulmány a mozgóképes installációk szórakozott és tévelygő látogatójának megtestesült tapasztalatát írja le fenomenológiai perspektívából – három, egymással összefüggő aspektus vizsgálatán keresztül. Elsőként a figyelem és a szórakozottság, a sok képernyő, tárgy vagy tér figyelemelterelő hatását elemzi, majd a keretre és különösen a képen és a kereten kívüli térre fókuszál, mivel a galériafilmekben a művészek vagy előtérbe helyezik a keretet, vagy összekapcsolják a képet a képernyőt körülvevő kiállítótérrel (Fowler 2008). Végül elkerülhetetlennek tűnik a képernyők és intézmények (különösen a mozi és a múzeum) közt vándorló mozgóképek által kiváltott eltérő nézői tapasztalatok vizsgálata. A „képernyők között” szóösszetétel a címben tehát nem csak az installációk közt bolyongó nézőre, hanem a műveknek az intézmények közötti vándorlására is utal. Az elméleti keret kidolgozását a tanulmány Chantal Akerman, Jesper Just és Julian Rosefeldt mozgóképes alkotásainak elemzésén és értelmezésén keresztül végzi el.