Returning (with Rosalind Krauss as guide) to the subcinematic projections of Marcel Broodthaers in the first phase of Conceptual art, discussion tracks his resistance to the moving image down through the postfilmic anatomy of celluloid in installation work by Canadian film and theater director Atom Egoyan: namely, his mulit-format restaging of his film version of Samuel Beckett’s metamedial Krapp’s Last Tape.
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