The uses and appropriations of images: repetitions, fragmentation, displacements

Abstract

In this article, we draw on recent developments in film theory and spectatorship in order to address some contemporary uses of images and ways of relating to cinema through encounters mediated by new technological devices. We then analyze some of the formal and aesthetic procedures deployed in the work of Belgian visual artist Nicolas Provost. By tracing the recurrence of the cinematic kiss in some of Provost's videos and also in previous works of several other artists and filmmakers, we seek to highlight the investment in cinema repertoires as an important key to enhance the spectator‟s affective engagement with images.