Scenes from heist movies feature regularly, as a way of exposing tension as well as in dramas that feature a character’s impatience, a clock usually looming over them. Arriving as we did at 10:30 in the morning, on-screen couples were waking up in bed after sleeping too late (often in post-coital positions). But most exciting of all, once the clock progresses to the next hour, Marclay makes it a turning point in his narrative – it’s hard not to be thrilled when the hand reaches noon. He demonstrates the aesthetic and dramatic value of those precise hours in movies.
In many ways, The Clock resembles a YouTube movie supercut or video-essay that’s been taken to ridiculous lengths, but it’s more attractive than that. Marclay allows a glimpse into how directors and cinematographers from across time and around the world depict certain times of day. Different colours, ways of framing, manipulating light and dark – all of which are dependent on time. And isn’t that what cinema is – the observance of space playing with time? Marclay reveals this, and makes you look closer.
|What||Christian Marclay: The Clock – Exhibition at Tate Modern|
|Nearest tube||Southwark (underground)|
14 Sep 18 – 20 Jan 19, 10:00 AM – 6:00 PM
|Website||Click here for more information|