“Moving media, that’s what we recommend”: Intermedial Reception in The Square (Ruben Östlund, 2017)
Through the analysis of key sequences in the film and more generally of The Square’s unique way of including various media, this article argues that the film purports to place its viewers in a state of confused reception, resulting from the overlapping areas between multiple forms of mediation. It p...
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| Gepubliceerd in: | URI:https://journals.openedition.org/interfaces, |
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| Formaat: | Article ou chapitre numérique |
| Taal: | Anglais |
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Interfaces
2023
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| Online toegang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:interfaces_5655 |
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openedition-oai:revues.org:interfaces_5655 https://doi.org/10.4000/interfaces.5655 urn:doi:10.4000/interfaces.5655 en https://journals.openedition.org/interfaces/5655 2023-01-23T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/h4ir https://creativecommons.org/licenses/by/4.0/ “Moving media, that’s what we recommend”: Intermedial Reception in The Square (Ruben Östlund, 2017) Interfaces Université Bourgogne Europe info:eu-repo/semantics/reference/issn/2647-6754 info:eu-repo/semantics/reference/issn/1164-6225 URI:https://journals.openedition.org/interfaces Lefait, Sebastien réception intermédiale capacité d’attention limites de la performance artistique installations artistiques publicité sur YouTube intermedial reception attention span boundaries of performance art installations YouTube advertising Through the analysis of key sequences in the film and more generally of The Square’s unique way of including various media, this article argues that the film purports to place its viewers in a state of confused reception, resulting from the overlapping areas between multiple forms of mediation. It proposes that The Square cleverly ascribes the current inability to identify the boundaries between performance and reality, fiction and non-fiction, etc., to an intermedial type of viewership born from overexposure to different yet similar media forms that include the Internet in general, the viewing platform YouTube in particular, the global surveillance apparatus, television, and of course, ultimately, the art of film itself. It finally argues that the blurring of thresholds prompts a reception mode that is applied to a media continuum that extends from high art to popular culture. A travers l’analyse de certaines séquences clés du film et plus généralement de la manière unique qu’a The Square d’inclure différents médias, cet article soutient que le film prétend placer ses spectateurs dans un état de réception confuse, résultant des zones de chevauchement entre de multiples formes de médiation. Il avance que The Square impute habilement l’incapacité actuelle à identifier les frontières entre la performance et la réalité, la fiction et la non-fiction, etc., à un type de visionnage intermédial né d’une surexposition à des formes médiatiques différentes mais similaires, notamment Internet, YouTube, l’appareil de surveillance mondial, la télévision et, bien sûr, l’art cinématographique lui-même. Il soutient enfin que le brouillage des seuils suscite un mode de réception qui s’applique à un continuum médiatique allant du grand art à la culture populaire. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
réception intermédiale capacité d’attention limites de la performance artistique installations artistiques publicité sur YouTube intermedial reception attention span boundaries of performance art installations YouTube advertising |
| spellingShingle |
réception intermédiale capacité d’attention limites de la performance artistique installations artistiques publicité sur YouTube intermedial reception attention span boundaries of performance art installations YouTube advertising Lefait, Sebastien “Moving media, that’s what we recommend”: Intermedial Reception in The Square (Ruben Östlund, 2017) |
| description |
Through the analysis of key sequences in the film and more generally of The Square’s unique way of including various media, this article argues that the film purports to place its viewers in a state of confused reception, resulting from the overlapping areas between multiple forms of mediation. It proposes that The Square cleverly ascribes the current inability to identify the boundaries between performance and reality, fiction and non-fiction, etc., to an intermedial type of viewership born from overexposure to different yet similar media forms that include the Internet in general, the viewing platform YouTube in particular, the global surveillance apparatus, television, and of course, ultimately, the art of film itself. It finally argues that the blurring of thresholds prompts a reception mode that is applied to a media continuum that extends from high art to popular culture. |
| author |
Lefait, Sebastien |
| author_facet |
Lefait, Sebastien |
| author_sort |
Lefait, Sebastien |
| title |
“Moving media, that’s what we recommend”: Intermedial Reception in The Square (Ruben Östlund, 2017) |
| title_short |
“Moving media, that’s what we recommend”: Intermedial Reception in The Square (Ruben Östlund, 2017) |
| title_full |
“Moving media, that’s what we recommend”: Intermedial Reception in The Square (Ruben Östlund, 2017) |
| title_fullStr |
“Moving media, that’s what we recommend”: Intermedial Reception in The Square (Ruben Östlund, 2017) |
| title_full_unstemmed |
“Moving media, that’s what we recommend”: Intermedial Reception in The Square (Ruben Östlund, 2017) |
| title_sort |
“moving media, that’s what we recommend”: intermedial reception in the square (ruben östlund, 2017) |
| publisher |
Interfaces |
| publishDate |
2023 |
| container_title |
URI:https://journals.openedition.org/interfaces |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/interfaces.5655 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/interfaces/5655 |
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