the clock ( 2010 film )
christian _ marclay _ the _ clock _ 2010 _ a3 _ 1 _ web. jpg
it’s in the film of 2010 that the big world - saving stakes come to the forefront. and the film updates that final message, too :
christian marclay ’s acclaimed installation the clock 2010 has captivated audiences across the world from new york to moscow .
62) in may 2010 drew barrymore was announced as the director of a loose sequel to the film, surrender dorothy .
admission to the clock during regular museum hours, the clock is included in the price of museum admission .
———. “michael snow: screen writing. ” switch 3, spring 2010, 8–15 .
international astronomical union 2012, iau astronomy for development strategic plan 2010–2012. urltoken, june 2013
the fertility clock was developed as an educational element for the film “my future baby: breakthroughs in modern fertility” .
sitney, p. adams. “structural film. ” film culture 47 (summer 1969): 1–10 .
stanton did voice work for the johnny depp animated film “rango” in 2011. in a 2010 episode of nbc’s “chuck, ” stanton reprised his “repo man” character .
“i am” (national award winner for best hindi language film and lyrics) is their 3rd feature film as producers. the film project is one of india’s largest crowd sourced films with 400 co producers from 40 cities across the world. i am had its canadian premier at the “vancouver international film festival ’2010”. i am was also officially selected at guggenheim berlin’ 2010, 59th valladolid film festival, spain 2011 and won the netpac award for best in asian cinema and special jury mention at the 15th international film festival of kerala 2010, winner best film at the london asian film festival and continues its festival screenings. i am deals with issues and dilemmas that bruise the modern indian society. after a successful release in india, i am was released in france in 2012 by epicenter distribution .
the film doesn' t say, but from earlier statements, chris nolan declared that the film is supposed to be contemporary .
christian marclay. video still from the clock. 2010. single - channel video with sound, 24 hours. © christian marclay. courtesy paula cooper gallery, new york
christian marclay, the clock (2010). single - channel video installation. duration: 24 hours. courtesy white cube, london and paula cooper gallery, new york
producers 4th feature film project “chauranga” directed by bikas ranjan mishra, winner grand jury prize for best feature at iffla ‘2015 (indian film festival of los angeles ‘2015), winner best film at mami ‘2014 (mumbai international film festival’2014), winner incredible india award at film bazaar 2011 & goteborg international film festival script development fund as the best co production market project. the project was also selected for paris project 2012. the film had its uae premier at the diff ‘2014 (dubai international film festival 2014) as part of world cinema. in 2015, the film was officially selected at nyff ‘2015 (new york film festival ‘2015). official selection, goteborg international film festival (2016) and cinemasia film festival, amsterdam, (2016) .
there is only one opening credit, the film' s title, which does not appear until nearly 15 minutes into the film .
owen, don, dir. toronto jazz. national film board of canada, 1964. 16mm film, 27 min .
motion picture film stills or motion picture footage from films in moma' s film collection cannot be licensed by moma / scala. for licensing motion picture film footage it is advised to apply directly to the copyright holders. for access to motion picture film stills please contact the
national research council 2010, new worlds, new horizons in astronomy and astrophysics. washington, dc: the national academies press
image: christian marclay, details from the clock, 2010, single - channel video, variable dimensions 16: 9, purchased with funds provided by steve tisch through 2011 collectors committee, the clock © christian marclay, courtesy paula cooper gallery, new york .
69) the observer music monthly voted it the greatest film soundtrack of all time .
he knows too much: the plot of the first film is driven by this .
64) the film was deemed
culturally significant
by the united states library of congress, which selected it for preservation in the national film registry in 1989 .
scarface writer oliver stone wrote the film while battling his own addiction to cocaine .
the film of the book: the movie was based on a comic book of the same name .
the first work to be presented in this space in 2014 is the clock (2010) by multidisciplinary artist christian marclay (b. 1955, san rafael, california), an artist known since the late 1970s for his exploration of the intersections between visual art, sound, film, and performance .
christian marclay: the clock courtesy the artist and paula cooper gallery, new york .
, called “the clock” the “ultimate work of appropriation art. ” rosalind e. krauss, the eminent art historian, hailed marclay’s transformation of “the reel time of film into the real
———. “michael snow. ” in 100 video artists, edited by rosa olivares, 370. madrid: exit publicaciones, 2010 .
boyd, d. (2010) .
making sense of privacy and publicity
. sxsw. austin, texas, march 13 .
copenhagen contemporary is delighted to bring swiss - american artist and composer christian marclay’s the clock (2010) to scandinavia for the first time. this video installation is recognised as a contemporary masterpiece and won the golden lion at the 2011 venice biennale .
a 24 - hour montage of film clips showing the measurement of time, christian marclay’s the clock has hooked viewers in london and new york. he talks to jonathan romney
70) on the rotten tomatoes website, 100% of critics give the film positive reviews .
the clock is a major cinematic work by new york–based artist christian marclay. winner of the golden lion award at the 2011 venice biennale, the clock samples thousands of excerpts from the history of film that indicate the passage of time—from clock towers to wristwatches to buzzing alarm clocks—that the artist has edited together to unfold on the screen in real time as a 24 - hour montage .
corrects chess clock story: was 7 minutes, not 3. had borrowed from lds member in area; when he died, wife sent royal the chess clock .
33) a recycled bit of score from the film marie antoinette (1938) can be heard during the castle escape film – the music for both films was composed by herbert stothart .
: just about everyone in the film under the age of forty. they look at moses and the other
beginning december 21, the museum will provide updates on visiting the clock, including live reports on the queue, via twitter (@ theclockatmoma). tweet about the clock using the hashtag # theclockatmoma .
in a new report, the cdc says u. s. doctors are prescribing fewer opioids than they were in 2010, but that overall rates remain high .
bbc news at ten article on christian marclay' s the clock - a 24 hour film, featuring in the british art show at new exchange, nottingham and the white cube in london .
movies: christian marclay' s' the clock' runs at lacma for ...
christian marclay: the clock
through june 2 at sfmoma, s. f .
for the new report, cdc researchers analyzed opioid prescribing patterns in the u. s. from 2006 to 2015, including county - level prescribing from 2010 through 2015 .
whitelaw, anne, brian foss, and sandra paikowsky, eds. the visual arts in canada: the twentieth century. don mills: oxford university press, 2010 .
whereas benjamin franklin said that “time is money, ” marclay says in the clock that “time is meaning. ” whether we get a little or a lot of it, the clock reminds us that time is man - made and that, ultimately, we rule it rather than it rules us. stop watching the clock and watch the clock, if you can .
timepieces of all kinds are the stars of the christian marclay video “the clock, ” at the paula cooper gallery .
warning: spoiler alert! this infographic contains details about the new space film
interstellar .
21) in their 2007 list, the afi ranked it as the 10th greatest film of all time .
65) in june 2007, the film was listed on unesco' s memory of the world register .
marclay spent three years assembling “the clock, ” a twenty - four - hour video collage .
( 1) wallace wh, kelsey tw. human ovarian reserve from conception to the menopause. plos one. 2010 jan 27; 5 (1): e8772 .
however they often appear in film adaptations entitled' alice in wonderland' or variations thereof .
20) the film is rated no 1 on the afi' s 2008 list of the 10 greatest fantasy films .
for the clock, the artist edited thousands of film and television clips to form a 24 - hour montage which unfolds in real time. while constructed from a dizzying variety of periods, contexts, and film genres whose storylines seem to have shattered into a multitude of narrative shards, the clock uncannily proceeds at a unified pace as if re - ordered by the latent narrative of time itself .
[ image: christian marclay. detail of the clock. 2010. single - channel video with sound, 24 hours. © christian marclay. courtesy paula cooper gallery, new york, and white cube, london. photo: todd - white photography. ]
alice sees iracebeth running in the direction of the heavy clock and tries to prevent a tragedy from happening .
34) to show dorothy' s house falling from the sky, a miniature house was dropped onto a sky painting on the stage floor, then the film reversed to make it appear the film was falling towards the camera .
back to one podcast: keith poulson on developing as an actor in the ny indie film scene .
it was al pacino who first came up with the idea to remake howard hawks original 1932 film .
amidst an old london clock shop, a small, quirky mantle clock comes to the aide of the store' s more expensive clocks when a thief breaks in and threatens to steal them away .
christian marclay’s epic video collage, ‘the clock’, used thousands of film clips to hypnotic – and retina - searing – effect. will his new work also be a sight for sore eyes ?
the repetition of images is a defining characteristic of surrealist art. bunuel merely transfers this to the film medium .
there are no critic reviews yet for girl clock. keep checking rotten tomatoes for updates !
last month culture monster reported that the l. a. county museum of art was working to acquire christian marclay’s 2010 video hit “the clock, ” a 24 - hour - long movie - montage that museum director michael govan called a “virtual history
of film. now the acquisition is a done deal, thanks to an annual fundraising event at the museum known as collectors committee weekend .
wormhole travel across the universe and supergiant black holes are just some of the wonders seen in the film
interstellar .
to enjoy special access to christian marclay: the clock and other benefits, become a member today .
despite its miami setting, most of the film was shot in los angeles. the miami tourist board declined the request to film there, as they feared the themes of drugs and gangsters would deter holiday - makers from visiting .
, 1964, directed by don owen, 16mm film, black and white, 27 min .
winner of the golden lion award at the 2011 venice biennale, christian marclay’s the clock is a cinematic tour de force that unfolds on the screen in real time through thousands of film excerpts that form a 24 - hour montage. appropriated from the last 100 years of cinema’s rich history, the film clips chronicle the hours and minutes of the 24 - hour period, often by displaying a watch or clock. the clock incorporates scenes of everything from car chases and board rooms to emergency wards, bank heists, trysts, and high - noon shootouts .
quite possibly the only critical piece you' ll ever read on christian marclay' s
the clock .
the fertility clock provides a simple graphic that can be used to estimate the monthly chance of having a baby .
you might argue that that’s what 2001 is about, in the end, but i don’t think you can say that 2001 ‘s view of its mystery monolith aliens is all - the - way positive; certainly, there’s no scene where a monolith explains, in subtitle, that they are saving humanity because they need humanity’s help in 3000 years. (a nihilist would argue that 2001 is about how earth is a laboratory and we’re the lab rats .) maybe you think 2010 is clearer in its intentions than 2001 — in which case, maybe those good intentions are just vastly less interesting. maybe 2010 makes you feel better than 2001 because everyone in 2010 is nice. (even hal is nice in 2010) .
sfmoma features the world’s most elaborate timepiece, a supercut of film history that works also as a watch .
inception is based on a screenplay by british filmmaker christopher nolan, who also produced and directed the film .
: marvin starts the film by warning frank someone is coming after them, then apparently blowing himself up .
the data used to create the fertility clock was taken from landmark works in the fields of population research and developmental biology .
the rates depicted on the fertility clock estimate the experience for most women. as with all biological systems exceptions do exist .
8. narrative devices veteran actor burgess meredith in the obsolete man is tied to a post. next to him is a bomb attached to a clock. when the clock strikes twelve, it will explode .
an ode to time and cinema, christian marclay’s the clock (2010) is a contemporary masterpiece comprised of thousands of fragments from television and film history—creating a 24 - hour video shown in real time. at any given moment, the work displays the accurate time on screen, blurring the line between its fictional clips and reality. synchronized to the local time zone, the clock literally becomes a functioning timepiece. every clip in the film shows a clock, mentions the time of day in the dialogue, or represents a metaphor of time. from big ben to jack nicholson, viewers can recognize iconic movies, actors, and clips from a century of films. the museum first screened the work in 2011 following its joint acquisition by the mfa and the national gallery of canada .
, frank mentions how the mission they performed in moldova at the end of the first film made marvin a national hero there .
richard misek is a film theorist and montagist. his essay film rohmer in paris (2013) has screened at over twenty film festivals on five continents, and at venues including the national gallery of art (washington d. c .), the bfi and barbican (london), and the museum of moving image and anthology film archives (new york). he is ​currently principal investigator on the arhc project, ‘the audiovisual essay: a digital methodology for film and media studies’. he lectures in digital arts at the university of kent. urltoken
47) the stage version of the wizard of oz returns to london' s west end in february 2011. the role of dorothy was decided by bbc talent show over the rainbow, which aired in spring 2010 .
in 2005 they independently produced the path breaking film, “my brother nikhil” directed by onir, which dealt with the stigma of hiv and homosexuality for first time in india. the film premiered at “frameline” (san francisco) followed by winning at montreal (image + nation film festival) & 20th milan international lgbt festival. the film successfully released in march 2005 by india’s biggest privately owned studio, “yash raj films”. my brother nikhil is considered a landmark film in indian cinema. producers 2nd feature film, “sorry bhai! ” directed by onir was released in november 2008 and starred shabana azmi, boman irani, sanjay suri, sharman joshi and chitrangda singh. the film was acquired and released by mumbai mantra (entertainment division of the industrial group mahindra’s) .
the clock, which took three years to make, has become the art world' s most talked - about film project since it debuted in 2010, and unsurprisingly, it' s divided audiences. his worst critics have derided the clock as a
gimmick ,
but even marclay' s detractors credit his resolve to complete the project, which required thousands of hours to sift through potential scenes. but the film' s success — it won the venice biennale' s top prize in 2011, and has since screened to standing - room - only crowds around the world — has brought renewed attention to marclay' s other projects .
when “the clock, ” first shown in london in 2010, made its new york debut at the paula cooper gallery in chelsea in the winter of 2011 people waited in line for hours in the bitter cold to see it. last summer at the venice biennale it was a big draw, winning the golden lion award for best artwork. the film has also been shown in seoul, moscow, paris, boston, los angeles and ottawa .
called “an abundant, magnificent work” (financial times) and “utterly transfixing” (huffington post), the clock is marclay’s most ambitious moving - image project to date, garnering rave reviews from critics and the public alike since its premiere in 2010, and subsequent presentations at a host of venues worldwide .
indeed, the clock attempts to submit cinematic time to clock time through the coincision of subject matter (clocks, nothing but clocks, visualizing clock time) with a context which makes possible durational, internal, (cinematic) time. marclay seems to be suggesting (consciously or not) that there is no possible escape from clock time, so why not embrace it. enjoy your symptoms, pace zizek .
i had seen parts of “the clock” when it opened at london’s white cube gallery four years earlier. marclay’s 24 - hour video installation instantly became the cultural talk of the town. it even made the bbc’s ten o’clock news, the straight - talking nightly bulletin that gives short shrift to the flaky experiments of contemporary art. but the allure of “the clock” was irresistible .
arthur c. clarke wrote the book 2010 in 1982. the book is more austere, clinical, less dramatic, and better. it ends with a message from the monoliths, via hal, to humanity :
has been viewed with critical acclaim at venues around the world since premiering at white cube, london in 2010. it was jointly acquired by the national gallery of canada and the museum of fine arts, boston .
the film' s abstractness permitted many interpretations. in the midwest, for instance, cooper was seen as a symbol of eisenhower working against the communist threat, a view eisenhower himself presumably adopted with his numerous white house screenings of the film .
a three - minute clip of clock on youtube comes with the plea only to watch it from four minutes past noon – and to wait, patiently clock - watching, if that point in the day has passed .
71) the film is at no 10 on the bfi' s list of the 50 films you should see by the age of 14 .
the clock first premiered in london in 2010 and has since been exhibited worldwide in more than twenty venues, including the centre pompidou, paris (2011); museum of modern art, new york (2012); san francisco museum of modern art (2013); and guggenheim bilbao (2014) .
the film exhibits loss of nerve in other ways. the wally created by eugenides was no looker; but the film only hints at this by clothing bateman, an attractive man, in unfortunate knitwear. thus the story’s entire point is effectively jettisoned .
sometimes the time is just glimpsed in the background of a shot, irrelevant to the action and sometimes the time gives a sharp stab or poke to the dialogue: particularly with scenes in which time is running out. the clock is, unexpectedly, quite a sensual, sexy film, in that the late morning stretch features plenty of shots of people in bed, waking up, embracing and then realising that these are forbidden pleasures – forbidden by the clock. (
what' s the time? is that the time ?
etc) the time is an alarm clock, a constant silently pinging alarm clock .
a most useful work of art, clock 2010, made by christian marclay by editing together thousands of clips of clocks, watches and time checks from films so that they tell the actual time as the video runs for 24 hours, has been acquired jointly by the tate, the centre pompidou in paris and the israel museum in jerusalem .
of course
the clock
would speak to a generation weaned on appropriation by hip - hop and youtube .
entry to the clock is on a first - come, first - served basis. wait times may apply .
there are brief periods of nudity and strong language during the clock. visitors bringing children should use their discretion .
lieblingswitze - büchlein goes biennale: 5. 11 min of 24 h video
the clock
by christian marclay
there are brief periods of nudity and strong language during the clock. visitors bringing children should use their discretion .
thus “the clock” is also a 24 - hour valentine to the movies. it samples film from around the world and throughout the last century, from silent movies to the present. it is like a history of film for our add times, or the greatest movie trailer ever made, as well as the ultimate work of appropriation art, a genre that owes so much to the movies .
68) the pairing of the 1973 pink floyd music album the dark side of the moon with the visual portion of the film produces moments where the film and the album appear to correspond with each other in a music video - like experience. this juxtaposition has been called dark side of the rainbow .
marclay doesn' t consider himself a film buff, and while making
the clock
the last thing he wanted to do was go to the movies. instead, he took up yoga. after the obsessive demands of
the clock ,
he' s now working on a couple of short video projects that are
very modest in scale .
casually stepping out of a car while it' s doing a donut automatically qualifies your film for this .
snow, michael. “hollis frampton interviewed by michael snow. ” film culture, spring 1970, 6–12 .
( 2010) is an ode to time and cinema, comprised of thousands of fragments from a vast range of films that create a 24 - hour, looped, single - channel video .
christian marclay’s 24 - hour video installation the clock will go on show at tate modern for three months, starting in september 2018. released in 2010, marclay’s montage features of thousands of real - time film and television clips, acting as a fully functioning time piece. the exhibit will be free and can be accessed during tate modern opening hours and via monthly 24 - hour screenings, exact dates to be confirmed soon .
daniel herbert is an associate professor in screen arts and cultures at the university of michigan. his research examines the relationships between the media industries, geography, and cultural identities. he is author of videoland: movie culture at the american video store (uc press, 2014). his essays appear in canadian journal of film studies, creative industries journal, film quarterly, millennium film journal, and quarterly review of film and video, as well as in several edited collections .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
despite its now iconic status, the film was slaughtered by critics upon release, due to its graphic violence, foul language and drug use. one person who sung the film' s praises from the start, however, was actor eddie murphy .
the overall amount of opioids prescribed in the u. s. dropped 18 percent, from a peak of 782 mmes — morphine milligram equivalents — per capita in 2010 to 640 mmes per capita in 2015, the researchers found .
in a new report, the cdc says u. s. doctors are prescribing fewer opioids than they were in 2010, but that overall rates remain high. donald gruener / istockphoto / getty images hide caption
still from christian marclay’s the clock, 2010. single channel video (color, sound). edward linde fund. jointly owned by the museum of fine arts, boston, and the national gallery of canada. © the artist. photo: todd - white art photography. courtesy white cube, london and paula cooper gallery, new york .
the enduring allure of the film that catapulted bill forsyth into the british film industry elite has surprised no one so much as its stars, most of whom were in their teens when they made it. many of the cast had worked with forsyth through the glasgow youth theatre before, and expected no more than the distinct lack of interest that met their first film together, that sinking feeling .
10: 04 p. m. : lightning strikes the clock tower in
back to the future
( 1985) .
the clock reflects a western world of total control and administration: time is the mechanism that binds one to a rational order .
“i’ve done ‘the clock’ twice? ” marclay said, laughing. “well, that proves that i’m too swiss. ”
9. control in drawing a connection between time on screen and time in everyday life, the video reminds us, if reminding was ever needed, that we are conditioned by the clock, that our days are marked and measured. we watch the clock and the clock watches us. the clock is a dictator and the ultimate panopticon. our daily and lived relation to the clock can be aggressive or passive: we might punch the clock at work but in so doing, we are kept in line by systems of regulation and labour that demands our time. in the clock a recurring trope of the bedside stand with a ringing ‘alarm’ clock repeats across numerous settings. early mornings become hectic as time rings down like a hammer and repeated images of the time roust a sleepy subject to life, to work, and to responsibility. if the bedside stand is littered with cigarette butts, drugs or alcohol, we suspect that the subject will awake impaired and suffer from some sort of anxiety for sleeping in or for sleeping with the wrong person. in a culture of rationalized labour and incessant performance demands, the clock reminds us again and again of who we are and who we must become when the world is watching and the clock is ticking .
this summer at lacma, christian marclay' s cinematic artwork
the clock
( 2010), a 24 - hour - long compilation of thousands of film and tv clips, will offer remembrances of hollywood matinees past. his mash - up, sampled from across all film and tv genres, and spanning many cultures and eras, consists almost entirely of images and dialogue that depict or allude to the passage of time: close - ups of wristwatches, dramatic shots of big ben, pans of clock faces in grand central station, images of train timetables and airline departure schedules, and countless sequences of people waiting around or rushing off to fateful rendezvous .
running gag: throughout most of the film, han keeps demanding that frank return his private plane after he steals it .
he showed me some “drafts. ” putting on black spectacles, he loaded final cut pro. film clips were
an assemblage of time - related movie moments that had its debut in london in autumn 2010, mr. marclay’s “clock” is already a popular classic. it is also a functioning timepiece; a highly compressed, peripatetic history of film and film styles; an elaborate, rhythmic musical composition; and a relentlessly enthralling meditation on time as an inescapable fact of both cinematic artifice and everyday life. perhaps the ultimate validation of appropriation art, it thoroughly demonstrates how existing works of art — in this case films — become raw material for new ones .
christian marclay–the clock is organized by sabine breitwieser, chief curator, with martin hartung, curatorial assistant, department of media and performance art. the clock was acquired by moma in 2011 as a promised gift from the collection of jill and peter kraus .
some sequences in “the clock” were inevitable—at noon, “high noon. ” but marclay’s video rendered even that material strange. in fred zinnemann’s film, the fateful hour is preceded by a gallery of anxious faces intercut with a pendulum clock. “it’s condensed in the actual film, ” marclay explained. “i put all of that back into real time. ” his video upended a central illusion of film. theorists like henri bergson had dilated on the falseness of cinematic “duration”—the way that, say, the swirl of a long drunken evening can be captured in a set piece lasting three minutes. marclay made the same point, but viscerally .
above: still from christian marclay’s the clock, 2010. single channel video (color, sound). edward linde fund. jointly owned by the museum of fine arts, boston, and the national gallery of canada. © the artist. photo: todd - white art photography. courtesy white cube, london and paula cooper gallery, new york .
the clock is now showing at the hayward gallery in london as part of the british art show 7 and is soon moving on to glasgow and then plymouth. the london showings finish this weekend, when the clock has a special late - night opening until 1am. generally, gallery opening times permit visitors only to experience the
daylight
part of the clock. the night - time stretch promises a special intensity .
extended to december 31, 2011. a compelling new work created by world - renowned artist christian marclay, the clock (2010), an ode to time and cinema, comprises thousands of fragments from a range of films that create a 24 - hour, looped, single - channel video. the clock tells the accurate time at any given moment, and wherever it is screened it is synchronized to the local time zone, so that it is literally a working time piece. the clock, a recent museum acquisition, screens to coincide with the opening of the mfa’s new linde family wing for contemporary art .
19) the song over the rainbow came in at no 1 on the american film institute' s 2004 list of the 100 greatest songs in american films .
* moma acquired a copy of “the clock” for its permanent collection. it did not buy one, as originally stated .
schuchat says it' s enough for
every american [ to ] be medicated around the clock for three weeks .
36) the film is meant to be one of the most watched in the western world, partly because of its heavy presence on tv schedules .
the film' s wormhole is 1. 25 miles (2 kilometers) in diameter and 10 billion light - years long .
the acceleration i felt happened because each clip seemed to offer a surcharge of virtual potential ripe for actualization, but almost always impeded by the incursion of the next clip, equally alive with possibility. after 20 minutes, i had been fully indoctrinated into clock time. (notice how this short circuiting takes place while you’re slowly synching up your internal clock with the onscreen clock. )
clock time is intrinsically associated with labour, work time. this is steven shaviro speaking about tehching hsieh ‘s one - year performance 1980 - 1, which constituted of the punching of a time clock every hour on the hour for an entire year :
christian marclay: the clock is organized by the san francisco museum of modern art. lead corporate support is generously provided by the charles schwab corporation .
66) last year the san francisco chronicle devoted a film section front page to the film, in which mick lasalle declared that the film' s
entire sequence, from dorothy' s arrival in oz to her departure on the yellow brick road, has to be one of the greatest in cinema history — a masterpiece of set design, costuming, choreography, music, lyrics, storytelling and sheer imagination .
more simply, clock time is external (something imposed on our bodies and minds), while duration is internal .
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in 2001, the fate of the world wasn’t at stake. actually, in that sense, contemporary semi - serious sci - fi is much closer in spirit to the film 2010, an oddly endearing bad sequel which tries hard to crush everything interesting about 2001 with retroactive coherence. 2010 explains, in numbing detail, why hal went crazy — it wasn’t his fault, and the once - mad computer nobly sacrifices itself to save humanity. literally, all humanity: by the end of 2010, the u. s. and the ussr are at a state of high tension, and the threat of nuclear war looms large. the monoliths, previously an unknowable outside force, reveal themselves as helpful parental figures. they transform jupiter into a star, which makes the moon europa into a new vibrant planet. back home on earth, the americans and the soviets see two suns in the sky – and declare general peace .
, artistic director of pages unbound, film critic for classical 96. 3 fm and an adjunct professor at ryerson university .
marclay and his team cleverly appropriate the working methods of post - production experts on a film crew. the clock is brilliantly edited: scenes have been chosen by marclay for maximum effect and cut with great delicacy, both in each ”intro” to a scene and its “extro. ” the punch line—where’s the clock? —is used very well, and when there is no clock, marclay and crew have devised montage sequences of people running upstairs or through a crowd—cut / cut / cut—to a final point when a timepiece does make an appearance .
( 2010) is a unique and compelling work created by world - renowned sound and video artist christian marclay. the work is an ode to time and cinema, and is comprised of thousands of fragments from a vast range of films that create a 24 - hour, looped, single - channel video. marclay compiled thousands of film clips of wristwatches, clock towers, sundials, alarm clocks, and countdowns, each of which illustrate every minute in a 24 - hour period .
it’s obvious, of course, where this film is going, but the unpromising - looking vehicle proved an unexpected pleasure to travel in .
usually, when a movie’s good enough, the audience loses track of the time. the clock invites viewers to zone out, but constantly reminds them exactly what time it is. drowning in the current of scenes and events, it’s easy to forget about many things, but time is not one of them. “ the clock really is a clock, ” breitweiser, the curator, told me. “everyone is watching the time go by. ”
in the film, cobb pulled a
mr. charles
on fischer due to the time constraints. what exactly is
mr. charles
?
this summer the city that never sleeps will have another glimpse of an artwork that doesn’t relent much either: “the clock, ” a spellbinding, time - telling 24 - hour wonder of film and sound montage by christian marclay, the polymath composer, collagist, video artist and pioneer turntablist .
in the switch, it’s finally happened again. jason bateman, funny, charming and quick with repartee, acquits himself splendidly. it’s the rest of the film that’s the problem .
a 24 - hour - long meditation on the nature and artifice of time ,
the clock
consists of thousands of film (and to a lesser degree, television) clips that feature clocks, watches and other timepieces, edited together so that the time you see on screen reflects the current time .
beginning december 21, the museum will provide updates on visiting the clock, including live updates on the queue, via urltoken and moma’s twitter account, @ museummodernart .
lead corporate support for christian marclay: the clock is provided by the charles schwab corporation. additional support for the exhibition is provided by lionel conacher and joan dea .
but individual donors also stepped forward to fund particular artworks that moved them. with marclay' s “the clock, ” hollywood film producer and new york giants chairman steve tisch, who became a lacma trustee last year, pledged the $ 467, 500 needed to buy the work before voting began .
' the clock' is at the power plant in toronto until november 25, and at moma, new york, from december 21 until january 21 .
precision f - strike: cooper gets one towards the end, especially noticeable as there honestly isn' t much swearing in the film up until that point .
the film on the waterfront (1954) was partially intended as director elia kazan and writer budd schulberg' s justification for cooperating with huac. the film' s hero, played by marlon brando, wrestles with the question of whether to tell the police the names of the criminals operating on the docks, eventually determining that it would be immoral not to do so .
the black hole' s complex appearance in the film is due to the image of the accretion disc being warped by gravitational lensing into two images: one looping over the black hole and the other under it .
it never really did, although the film' s cult status has arguably grown in the last 10 years: as he has become more elusive, so forsyth' s legend has fortified. there was a palpable thrill in the air when the film' s leads – sinclair, grogan, robert buchanan and dee hepburn – posed for photographs at the glasgow film theatre on sunday, together again for the first time since they made the film. but there was also something bittersweet about watching this frozen elegy for youthful innocence and optimism in a room with its now forty - something stars, a heart - jolting reminder that even daft, dreamy wee boys who have to be home by 11 o' clock grow into older, wiser, more melancholy men .
thus film and television history is co - opted into a promiscuously goofy hellzapoppin’ - esque collage. but the clock is also a film of considerable philosophical density. it invites us to examine the way time – or the effect of time – is created and structured in film. we become aware of different intensities of film time. there are moments of heightened tension (‘hot’ time, you might say) in which events happen, or are keenly anticipated: notably the run - up to midday, a moment awaited in the clock by a heteroclite mob including moritz bleibtreu, gene hackman and, of course, gary cooper in high noon. then there are the slow, seemingly vacant moments – ‘cool’ time – in which characters lounge around or emerge from late slumber (3pm, we learn, is a prime waking hour for artists and drunks). we too become acutely aware of time in the outside world; emerging from the clock, you can expect your sense of the passing minutes to be curiously heightened for a good hour or so .
sanjay suri served as a jury member at mami festival, 2012 (mumbai academy of moving images) and as muhr arab feature jury at the (diff) dubai international film festival, 2013. onir served as a jury member for selection of india’s entry for foreign film category at the oscars .
when he finally saw the finished product at the 1981 london film festival, however, sinclair was
mortified
. he thought he looked terrible and gangly (it suddenly dawned on him why forsyth had
made me exaggerate all those stretches and lunges when he was filming me exercising
), and he feared his performance
ruined the film
. grogan was a little more level - headed, recognising the film' s charms, and its
smart, progressive view of a girl' s world
. but even after the film was greeted rapturously, all involved thought the fuss would soon die down .
17) the production costs came in at $ 2, 777, 000 – a vast sum for the time. on initial release, the film only earned $ 3m .
there is still a process of editing involved – many of the film clips are leftovers from the gargantuan catalogue that he and his assistants formed whilst working on the clock. it begins with a silent loop showing a disembodied hand, index finger tapping the velvet pile of a curtain, over and over. this is typical marclay – his eye for banal visual oddities was the making of the clock, and indeed all his other video works, which are photographic in a way .
incredibly obvious bomb: marvin drives the secret service in the direction he wants by charging towards them while strapped with dynamite and a ridiculously large micky mouse clock .
rt @ cairoscene: our resident film critic and cinephile @ waelkhairy88 gives his # oscar2016 predictions. brace yourself leo. urltoken 2 years ago
but that interpretation is only obvious if you know the film' s background, and even then it' s not inescapable. none of the contemporary reviews i can find describe the film as having any political component at all. (here is the new york times review, which does allude to the question of whom to credit for the film' s excellence; here is variety' s review .) in the book showdown at high noon: witch - hunts, critics, and the end of the western, jeremy byman writes :
many non - astronomers also engaged with astronomy during the international year of astronomy 2009 (iya2009), the largest education and public outreach event in science. the iya2009 reached upwards of eight hundred million people, through thousands of activities, in more than 148 countries (iau, 2010) .
some ten thousand clips were collected for marclay’s video. “putting the clips back into real time, ” he said, exposed “how film is constructed. ”
marclay’s monstrous creation needed a title. he thought of a few of his usual puns: “time piece, ” “clock work. ” then he and burnett discussed the matter, and decided that the work was too grand to be trivialized with wordplay. better, marclay decided, to call it “the clock. ”
this precision yields several extraordinary effects, some of which may be fully evident only to a hypothetical viewer watching the film in its 24 - hour entirety. (there have been 24 - hour screenings, but to marclay’s knowledge, the longest stint by any viewer has been eight hours .) one effect is a strangely addictive, mesmeric quality; the first time i visited the clock, two hours slipped by like a breath. as happens when you watch any involving film, you lose your immediate sense of duration, and yet – here’s the wonderful paradox – the clock constantly reminds you of the exact time. your watching time is metered by the piece itself .
one of the visual pleasures of the clock is that marclay and his team took a euro - centric approach to their film materials. while there are plenty of clips with bette davis and other hollywood notables, the viewer is offered a pleasing variety of films from germany and france—with no subtitles! —and england. we’re likely to be transported in film clips from berlin during the cold war to post - blitz - bombed london to an antic parisian nightclub—and then to a hollywood studio .
since it premiered at their mason’s yard site in 2010, the work has been showing almost continuously: in new york, yokohama, jerusalem, plymouth, venice, los angeles, sydney, boston, paris, and zurich. it’s about to open in toronto, but for the first time, marclay isn’t going. having rigorously attended its every installation, he decided to step back and let assistant paul anton smith take over. “it had stopped me from doing other things” he says. “i had a couple of small shows but it was the clock and still the clock and the swiss guy who made the clock – ha ha” he says wearily. “at last it’s taking on a life of its own and freeing me to focus on other things. ”
2. anxiety the clock references the cinematic past through the recycling of known films. as viewers, we look for anchor points or moments of identification in the montage of clocks appearing before us. for cinephiles, to identify a known actor or the film from which the fragment of time is detached is to locate oneself as an informed viewer in a structure of familiar territory. as comforting as this is, the linear structure of the work and the rapid exchange of one temporal reference by another reminds one that time never stops. expectation comes to propel the film forward from one clip to another. the expectation is that a reference to time will be found embedded in the next clip. a ‘where’s waldo’ of time ensues as we are conditioned by the film to look for clocks. finding the temporal signifier resolves the expectation but this resolution is short - lived, replaced immediately with the expectation that the next scene will provide another image of time. viewers are kept continually in a state of perpetual and anxious receptivity. the film’s oscillation between anticipation and resolution burns out the continuous punctuality of our attention span. the clock is relentless .
44) lux radio theater broadcast a 60 - minute cbs radio adaptation of the movie on christmas day 1950 with judy garland reprising her film role as dorothy .
49) the film won two oscars for best original score and best original song, and was nominated for best art direction, best cinematography and best effects.
the clock is an art installation by video artist christian marclay . it is a looped 24-hour montage that functions as a clock . its scenes are selected from cinema and television history , with real-time references to the time of day . marclay developed the idea for the clock while working on his 2005 piece screen play . with the support of the white cube gallery , he assembled a team to find footage , which he edited together over the course of three years . marclay debuted the clock at white cube 's london gallery in 2010 . the work garnered critical praise , winning the golden lion at the 2011 venice biennale . its six editions were purchased by major museums , allowing it to attract a widespread following . 
the clock is an art installation by video artist christian marclay. it is a looped 24-hour montage that functions as a clock. its scenes are selected from cinema and television history, with real-time references to the time of day. marclay developed the idea for the clock while working on his 2005 piece screen play. with the support of the white cube gallery, he assembled a team to find footage, which he edited together over the course of three years. marclay debuted the clock at white cube's london gallery in 2010. the work garnered critical praise, winning the golden lion at the 2011 venice biennale. its six editions were purchased by major museums, allowing it to attract a widespread following.
the clock is an art installation by video artist christian marclay. it is a looped 24-hour montage that functions as a clock. its scenes are selected from cinema and television history, with real-time references to the time of day. marclay developed the idea for the clock while working on his 2005 piece screen play. with the support of the white cube gallery, he assembled a team to find footage, which he edited together over the course of three years. marclay debuted the clock at white cube's london gallery in 2010. the work garnered critical praise, winning the golden lion at the 2011 venice biennale. its six editions were purchased by major museums, allowing it to attract a widespread following.