The Event of Projection
The Event of Projection
This is the first of two chapters to explore forms of rarity and limitation that lie outside the predominantly financial motivations of the limited edition. Through the case study of Paolo Cherchi Usai’s Passio (2006), a live film performance, it examines the implications of ceasing to conceive of cinema as a reproducible object and instead understanding it to be a singular event marked by liveness. Turning to Nelson Goodman’s categories of allographic and autographic arts, this chapter explores various paradigms of live cinema, while also proposing the liveness of the event can serve as a critical method one can use to uncover the variability and difference that exists even within practices apparently marked by the sameness of mechanical reproduction.
Keywords: Autographic, Allographic, Performance, Singularity, Event, liveness
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