Analysis of a number of video artists including Tony Oursler. Bellour recounts his experience of an Oursler exhibition in which he views many of Oursler’s dolls but also his System for Dramatic Feedback (1994) and a number of other pieces. Bellour discusses how Oursler ‘has used video as a catalyst for the creation of worlds that painting and sculpture could not adequately conceive, and for which film proved too exterior.’ (Bellour, 2003, p. 54).
Raymond Bellour is a researcher and writer. He is Director of Research at C.N.R.S., Paris. His interest in romantic and contemporary literature has resulted in, arnong others, the publications Les Brontii: Ecrits de jeunesse (Pauvert, 1972; Laffont, I 992); Mademoiselle Guillotine: Cagliostro, Dumus, Oedipe et la Riuolutionfransaise (LaDifference, 1990); Henri Michaax (Gallimard, 1965; “Folio,” 1985). His publications on film include Le Western (10/18, lg66; Gallimard, “Tel,” 1996); The Analysis of Film (Albatros, 1979; Calmann-Ldav, 1996). Above all, he is interested in “dissolves and passages;” mixed image regimes-painting, photography, film, video, virtual images; and the relationship between words and images. Publications in this field include Passages de l’imageb (Musde National d’Art Moderne, Centre Georges Pompidou, Paris, 1989) ; L’Entre-Images (La Difference, I990) ; lean-Luc Godard: Son + Image, 1974*1991 (The Museum of Modern Art, New York, L992); L’Erutre*Images 2 (P.O.L., 1999). In 1991 he participated in the creation of the film magazine Trafic, along with Serge Daney.
Bellour, R. (2003). Saving The Image. In T. Leighton, & P. Buchler (Eds.), Saving The Image: Art After Film (pp. 52-77). Glasgow: Centre For Contemprary Arts.