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What Is a 21 Century Portrait?

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What Is a 21 Century Portrait? What is a 21st Century Portrait? Douglas Gordon and Philippe Parreno’s Zidane a 21st Century Portrait and the Formatting of Television Nicholas Norton Master Thesis Presented at The Department of Philosophy, Classics, History of Art and Ideas, The Faculty of Humanities Supervised by Professor Ina Blom University of Oslo May 2015 I What is a 21st Century Portrait? Douglas Gordon and Philippe Parreno’s Zidane a 21st Century Portrait and the Formatting of Television II © Nicholas Norton 2015 What is a 21st Century Portrait? Douglas Gordon and Philippe Parreno’s Zidane a 21st Century Portrait and the Formatting of Television Nicholas Norton http://www.duo.uio.no Trykk: Reprosentralen, Universitetet i Oslo III IV Abstract Zidane a 21st Century Portrait is a 2006 film directed by Douglas Gordon and Philippe Parreno which follows Zinedine Zidane, arguably one of the most famous football players in the world, through a match between Real Madrid and Villarreal which took place on April 23, 2005. Rather than focusing on the game itself, the frame is fixed on Zidane for almost the entire duration of the game. My line of inquiry has focused on untangling what is meant by the assertion of the film as a “21st century portrait”, with particular focus on the film’s self-reflexive foregrounding of the television apparatus. I argue that Zidane a 21st Century Portrait builds on a strategy which I term “formatting”, involving the creation of a new format that explicitly foregrounds the relationship between televised football and post-industrial life. Rather than a typical model of portraiture, where the portrait is conceived of as a negotiation between the artists and Zidane, I argue that the mode of portraiture engendered by the film rests on a normative schema of Zidane, produced through the affective engagement of viewers and originating in the media events that Zidane inhabits. Accordingly, the 21st century portrait asserted in the title can be understood as embodying the machine which produces this schema of Zidane by self-reflexively foregrounding the television apparatus, rather than a schema assigned from the outside. This approach is interdisciplinary, intersecting art history with concepts originating in media studies, philosophy, and film studies. V VI Table of Contents 1 Introduction ....................................................................................................................... 1 A Question of Portraiture ....................................................................................................... 2 Theoretical Considerations .................................................................................................... 4 Existing Accounts of Zidane a 21st Century Portrait ........................................................... 12 2 Douglas Gordon, Philippe Parreno and Formatting .................................................... 15 Philippe Parreno ................................................................................................................... 16 Douglas Gordon ................................................................................................................... 18 Critical Engagement with Gordon and Parreno: Discourse on the art of the 1990’s and Beyond .............................................................................................................................................. 21 3 From the First Kick of the Ball: Formatting Zidane a 21st Century Portrait ........... 29 The formatting of Televised Football .................................................................................. 30 Zidane a 21st Century Portrait and the End of Television .................................................... 31 Half-Time Montage ............................................................................................................. 42 A Format that Crystalizes Time ........................................................................................... 43 4 21st Century Portrait ....................................................................................................... 49 Approaching Portraiture ....................................................................................................... 49 The Prototype: Helmuth Costard’s Football as Never Before ............................................. 53 5 Celebrity and Portraiture ............................................................................................... 58 The Iconic Moment .............................................................................................................. 58 Serialization ......................................................................................................................... 60 The Films of Andy Warhol and the Affection-Image .......................................................... 61 Sam Taylor-Johnson’s David ............................................................................................... 63 6 Capital, Portrait and the Production of Subjectivity ................................................... 65 The Production of Subjectivity ............................................................................................ 65 Media and Subjection .......................................................................................................... 68 7 Summary and Conclusion ............................................................................................... 70 Conclusion ........................................................................................................................... 71 Bibliography ........................................................................................................................... 73 VII 1 Introduction On April 23, 2005 Real Madrid defeated Villarreal 2-1 at the Santiago Bernabéu. The game itself wasn’t especially remarkable, yet across the world millions of people gathered attentively in front of television screens in private homes and in restaurants or pubs, hoping to catch a glimpse of excitement and magic. For some, the game was undoubtedly the highlight of the week, while others ended up watching more or less by chance, flicking through television channels while relaxing after a long day at work. For the many hopeful Real Madrid supporters, the game did not quite deliver the magic that they had hoped for, despite the victory. For much of the game their team had struggled to work cohesively, leaving Villarreal in the lead until late in the second half. Perhaps even more worryingly for many, Real Madrid’s star central midfielder, Zinedine Zidane was sent off in the 90th minute following a scuffle with an opposing player. Philippe Parreno and Douglas Gordon’s 2006 film Zidane a 21st Century Portrait follows Zinedine Zidane, at the time arguably the most famous football player in the world, through the entirety of the match between Real Madrid and Villarreal with the help of 17 cameras and a production crew of roughly 150 people. Zidane is tracked relentlessly for almost the entire film, save for a short montage sequence consisting of snippets of news footage just before half time, and the occasional cut to footage from the television broadcast of the game. Consequently Zidane is singularly foregrounded for the vast majority of the film’s 92 minutes, even when other Real Madrid stars such as Ronaldo or David Beckham are more directly involved in the ebb and flow of the game. In addition to the images captured by Parreno, Gordon and their team, the film makes use of footage from the television broadcast of the game and snippets of Zidane’s answers to a series of questions formulated by Parreno (shown as text along the bottom of the screen in parts of the film). Furthermore, a distorted guitar based soundtrack by Scottish post-rock band Mogwai, serves to supplement the mood of the game and the sound of the crowd. This hybridization is by no means new, confined to the sphere of artistic production, or even particularly surprising. 1 It does, however, allow Zidane a 21st Century Portrait to traverse a complex field of media, producing a highly reflexive approach to the current state of television, the site where Zidane has appeared against the green backdrop of the pitch week after week. 1 Edmond Couchot, Media Art: Hybridization and Autonomy (paper presented at presented at the REFRESH! conference, First International Conference on the Media Arts, Sciences and Technologies, Alberta, Canada, September 29 to October 4 2005). Accessed April 18, 2015, http://hdl.handle.net/10002/339. 1 Zidane a 21st Century Portrait premiered out of competition at the 2006 Cannes Film Festival. The film was afforded a general cinema release in several European countries, coinciding with Zidane’s retirement from professional football following the 2006 World Cup. Unusually for a film by two artists, Zidane a 21st Century Portrait was subsequently commercially distributed on DVD and later also on Blu-ray. In addition to the commercially available version, several multichannel configurations of the film exist, the most extensive version shown across 17 screens – one screen for each camera in the production. For the sake of simplicity, this text will refer to the commercially available single channel version of the film, although many of the arguments contained within undoubtedly pertain to both versions. A Question of Portraiture My initial interest in Zidane a 21st Century Portrait was sparked by the sections of the film where Gordon and Parreno
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