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placed side-by-side. One projection plays the film normally while the other, mirrored projection plays it in reverse, briefly culminating in a convergence at the centre for an identical mirrored shot. Brown notes that this results in unpredictable—yet "remarkable"—juxtapositions and tension, because
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and climax—become obsolete. He argues that the scale and size of films matter, writing that today most classical films are seen at home rather than in the cinema, but Gordon rescales such films close to their original presentation size by usually exhibiting them on "ten-by-twelve-foot screens" when
388:
an "audacious move", saying that while the film is "often talked about as sculpture," the actual viewing experience of the film is "undoubtedly spatial, but also intensely visual: there is, of course, no sound in the work, though several people seem to recall hearing it—an apt trick of memory,
483:
difficult to recall, as it amplifies more details and editing techniques for the audience to perceive, yet it simultaneously dissolves the original film's narrative structure to the point where "more often than not, there is nothing to see." Ross further adds that—in relation to
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for the first time in 1989 out of boredom. During his viewing, he thought he saw something that he could not possibly have seen, and rewatched the film repeatedly—including in slow motion. This, which Gordon calls an "active curiosity", inspired him to create
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diverts the audience from the traditional pattern of watching films by nullifying time all together, endlessly postponing the "catharsis associated with this genre of entertainment" and complicating the audience's perception of time.
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changes the original narrative of the film so much that one's "memory and perception clash over the reconstruction of the film" as "the viewer fails to recreate the original story." As most viewers will likely have at least heard of
488:—the slow motion brings the viewer into a state of "perceptual and memory insufficiency" as even though the viewer can anticipate what will happen next, the slowed extended duration prevents one's memory from matching the images to
338:
equipped with a shuttle control that allowed it to play in extreme slow motion. It was displayed on a 10 by 14 foot (3.0 by 4.3 m) translucent screen that leaned against one of the room's pillars for support. In contrast to
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in 2010, Gordon says that his tenacity is what made the project happen. He was assisted by several artists who tried to work out how to make the film, with the first cost estimate being three times the budget of
560:, calling it a "celebration" of the new options that films on home media offer—such as playback speed. She notes that anyone who wishes can now "play with the film image and, perhaps, in the process, evolve
527:
Klaus Pieter
Biesenbach writes that "duration is immeasurable" and has its own "inner rhythm", saying that the more detailed a memory of a certain period, the longer it seems to have been. To Biesenbach,
499:
s familiarity, the extreme slowness makes the plot incomprehensible and unable to match the viewer's memory or concept of time, while also freeing the viewer from the film's time. He writes that
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introduced several important themes in his future work: "recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light." Gordon regards
442:. In it, DeLillo is mesmerised by the "radically altered plane of time", noting "The less there was to see, the harder he looked, the more he saw." The book both begins and ends with
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placed side-by-side. One projection plays the film normally while the other plays it in reverse, briefly culminating in a convergence at the centre for an identical shot.
508:
instead subjects the characters of
Hitchcock's film to a "celluloid prison where they are condemned to attend their fate in a slow-motion trap." Monk further adds that
311:(1960) as a masterpiece in its own right, and wanted to maintain Hitchcock's authorship in his work. As such, he further states that he hopes when people watch
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and investment in spectacle into something closer to fetishism and investment in repetition, detail and personal obsession", just as Gordon had done.
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makes it a substantial part of
Douglas' work; it has been widely exhibited "all over the world" and is "regularly cited as a key work of the 1990s."
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to find out what happens in the film, "so the viewing becomes inextricably connected to memory, be it accurate or fallible." Brown further calls
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223:. The installation is displayed at the centre of a dark room and projected onto a translucent screen so that it may be viewed from either side.
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492:, making it hard for the viewer to grasp the narrative. Thus, the viewer "becomes depressed and inhibited in their perceptual activity."
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would attempt to compare their memories of the original film to Gordon's artwork, which "so explicitly alludes to the idea of life as a
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has become one of those mythic monuments that embody the dreams, anxieties and aspirations of a generation." Brian Price, writing for
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549:, containing suspense and unexpected turns that occur according to the commonly understood logic of the psychoanalysed human being."
688:
516:; while Hitchcock's film shows the madness of Bates before the psychologist at the end of the film explains his mental disturbance,
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plays out "the loss of time, the need for time, and the institutional depreciation of time". Ross writes that, by replicating
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made it a privilege to see rather than an amazement, calling it "limited-access cinema". Katrina M. Brown, writing for the
1233:"Slowness and Renewed Perception: Revisiting Douglas Gordon's 24 Hour Psycho (1993) with Don DeLillo's Point Omega (2010)"
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520:"actualises it" by making his madness visible instead of referring to it. By muting the sound, Gordon accomplishes in
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not as an appropriation, but more as an "affiliation", stating that it was not simply a case of abduction. He regards
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was Gordon's first work to showcase his theme of repetition. In 2008, Gordon created a second installation entitled
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per second from its original 24. As a result, the film lasts for precisely 24 hours, rather than the original
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424:"what has happened before will also happen in the future, and, of course, vice versa." The 2010 short novel
343:—which did not allow late admissions upon Hitchcock's request—viewers may enter and exit the exhibition for
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from its original 24. As a result, the film lasts for precisely 24 hours, rather than the original
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what "Hitchcock perhaps intended as a cinematic trope: to show Norman's madness by sight" alone.
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411:(1956) to a length of five years—was described by him as "something of a companion piece" to
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exhibiting his artwork in museums and art galleries. Biesenbach also adds that viewers of
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that possessed the ability to slow play videos to an extreme capacity. Reflecting on
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and repetition in his work. He often uses scenes from other films to create his
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was first shown in 1993 at
Tramway Art Centre in Glasgow, Scotland, and at the
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896:"Douglas Gordon's stunning 24 Hour Psycho update screens at TIFF's Lightbox"
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769:"Visual art: 24 Hours Psycho Back And Forth And To And Fro, Douglas Gordon"
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First shown in 1993 at
Tramway Art Centre in Glasgow, Scotland, and at the
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they give
Hitchcock significantly more consideration than himself.
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in 2018, wrote that because of the widespread public knowledge of
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The
Physical Impossibility of Death in the Mind of Someone Living
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The
Aesthetics of Disengagement: Contemporary Art and Depression
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334:, Germany. For its Berlin screening, the film was shown via a
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689:"ART IN REVIEW; Douglas Gordon: 'Through a Looking Glass'"
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415:. In 2008, Gordon created a second installation entitled
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s subliminal moments as all theatrical elements—noting
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simulates the psychological disturbance and madness of
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Hollywood
Remakes, Deleuze and the Grandfather Paradox
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853:"At MoMA, Douglas Gordon: The Hourglass Contortionist"
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Psycho: Music from and
Inspired by the Motion Picture
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419:, which consists of two simultaneous projections of
177:, which consists of two simultaneous projections of
1268:"The Vicious Circles of Postmodern Representations"
1129:
Double-cross: The Hollywood Films of Douglas Gordon
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970:
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2186:
1092:Gordon, Douglas; Biesenbach, Klaus Pieter (2006).
475:is dictated by mental processes that each involve
1154:. In Allen, Richard; Ishii-Gonzales, Sam (eds.).
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1051:
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462:in extreme slow motion and removing the audio,
368:, bemoaned in 2010 that the select showings of
291:who enabled him to bring the idea to fruition.
1181:. In Schoonover, Karl; Galt, Rosalind (eds.).
794:
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389:perhaps." Brown also notes that the renown of
219:of 109 minutes (1 hour, 49 minutes). There is
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1183:Global Art Cinema: New Theories and Histories
417:24 Hour Psycho Back and Forth and To and Fro
175:24 Hour Psycho Back and Forth and To and Fro
18:1993 art installation film by Douglas Gordon
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661:"Museum Hosts '24 Hour Psycho' — Literally"
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287:. But Gordon found "fantastic contacts" in
254:was his first work to use such repetition.
2584:British avant-garde and experimental films
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328:Kunst-Werke Institute for Contemporary Art
242:is a Scottish artist known for his use of
163:Kunst-Werke Institute for Contemporary Art
2448:Alfred Hitchcock and the Making of Psycho
1700:Everyone I Have Ever Slept With 1963–1995
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356:wrote that although few people have seen
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598:"THE WEEK AHEAD: June 11–June 17; FILM"
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1119:Monk, Philip; Gordon, Douglas (2003).
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727:Brown, Katrina M. (23 February 2018).
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532:intensifies this quality by exposing
158:of 109 minutes (1 hour, 49 minutes).
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299:writes that as Gordon's first film,
266:. To create the film, Gordon used a
205:'s 1960 psychological thriller film
144:'s 1960 psychological thriller film
1179:"Art/Cinema and Cosmopolitan Today"
894:Ferguson, Lee (13 September 2010).
595:
380:(1960), no one would have to watch
150:, slowed down to approximately two
13:
800:"Douglas Gordon: what have i done"
649:
586:
14:
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2594:British contemporary works of art
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659:Stone, Susan (29 February 2004).
495:Philip Monk writes that, despite
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946:from the original on 28 May 2023
863:from the original on 28 May 2023
699:from the original on 28 May 2023
610:from the original on 29 May 2023
1246:10.4000/sillagescritiques.10858
1231:Sammarcelli, Françoise (2020).
1121:"The Split of the Unconscious:
1085:
934:Dyer, Geoff (5 February 2010).
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471:, the audience's perception of
211:, slowed down to approximately
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1:
2589:British black-and-white films
2579:Alternative versions of films
1214:University of Minnesota Press
687:Johnson, Ken (2 April 1999).
579:
226:
2604:British silent feature films
1064:Gordon & Biesenbach 2006
1052:Gordon & Biesenbach 2006
851:Johnson, Ken (9 June 2006).
827:Gordon & Biesenbach 2006
596:Lee, Nathan (11 June 2006).
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1998:Poju and Anita Zabludowicz
1156:Hitchcock: Past and Future
2599:British independent films
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1266:Varndell, Daniel (2014).
1127:. In Reid, Alison (ed.).
552:Laura Mulvey writes that
132:video by Scottish artist
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2284:Psycho IV: The Beginning
1882:Karsten Schubert Gallery
1204:Ross, Christine (2006).
1098:Douglas Gordon: Timeline
1094:"Sympathy for the Devil"
707:– via NYtimes.com.
405:(1995)—which slows down
350:In 2006, Ken Johnson of
274:and played it through a
197:consists entirely of an
2233:Danganronpa: Kirigiri 2
1938:Janet Wolfson de Botton
1862:Anthony d'Offay Gallery
1187:Oxford University Press
556:represents the rise of
366:Oxford University Press
1788:East Country Yard Show
1558:Jane and Louise Wilson
1403:Jake and Dinos Chapman
1317:British Film Institute
1150:Mulvey, Laura (2004).
1040:Monk & Gordon 2003
1028:Monk & Gordon 2003
1016:Monk & Gordon 2003
753:Monk & Gordon 2003
236:
235:Douglas Gordon in 2013
2614:Young British Artists
1912:Victoria Miro Gallery
1364:Young British Artists
1177:Price, Brian (2010).
574:List of longest films
319:Release and reception
234:
2423:Motorpsycho Nitemare
1907:South London Gallery
1635:Gilbert & George
1584:Michael Craig-Martin
1259:OpenEdition Journals
1160:Taylor & Francis
1102:Museum of Modern Art
1042:, p. 62–64, 72.
454:For Christine Ross,
2574:1990s British films
2049:Sir Nicholas Serota
2029:Andrew Graham-Dixon
1707:For the Love of God
1078:, pp. 231–232.
936:"A Wrinkle in Time"
450:Themes and analysis
438:, and uses it as a
434:heavily references
430:by American author
2609:Psycho (franchise)
2241:Psycho: Sanitarium
2100:Julian Stallabrass
1620:Art & Language
1538:Sam Taylor-Johnson
1276:Palgrave Macmillan
1237:Sillages Critiques
940:The New York Times
857:The New York Times
733:Gagosian Quarterly
693:The New York Times
603:The New York Times
382:24 Hours of Psycho
374:Gagosian Quarterly
353:The New York Times
237:
2510:
2509:
2472:The Psycho Legacy
2154:
2153:
1867:Curtain Road Arts
1604:Richard Wentworth
1498:Richard Patterson
1388:Christine Borland
1285:978-1-137-40860-0
1223:978-0-816-64539-8
1206:"Nothing to See?"
1196:978-0-199-72629-5
1169:978-1-134-47722-7
1142:978-0-921-04796-4
486:cognitive science
152:frames per second
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2110:Charles Thomson
2080:James Heartfield
2054:Matthew Slotover
2044:Norman Rosenthal
2019:Matthew Collings
1978:François Pinault
1963:Pauline Karpidas
1877:Gagosian Gallery
1841:Norman Rosenthal
1693:Documents Series
1553:Rachel Whiteread
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142:Alfred Hitchcock
130:art installation
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51:Alfred Hitchcock
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1988:Charles Saatchi
1953:Steven A. Cohen
1933:Bernard Arnault
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1897:Saatchi Gallery
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1826:Joshua Compston
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1802:Modern Medicine
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1742:26 October 1993
1735:No Woman No Cry
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1548:Gillian Wearing
1523:Alessandro Raho
1503:Simon Patterson
1433:Angus Fairhurst
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777:. 10 April 2010
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501:24 Hour Psycho
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440:framing device
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244:conceptual art
240:Douglas Gordon
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2371:Norman Bates
2322:(2013–2017)
2317:
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2231:
2225:Psycho House
2223:
2215:
2207:
2191:
2188:Robert Bloch
2146:Turner Prize
2095:Brian Sewell
2024:Richard Cork
1993:Jack Wendler
1973:Jose Mugrabi
1846:Jon Thompson
1807:
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1625:Art in Ruins
1594:Jon Thompson
1493:Stephen Park
1478:Abigail Lane
1463:Damien Hirst
1448:Liam Gillick
1408:Adam Chodzko
1378:Fiona Banner
1322:
1311:
1300:
1271:
1257:– via
1236:
1209:
1182:
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1128:
1122:
1097:
1086:Bibliography
1071:
1059:
1047:
1035:
1023:
1011:
999:
972:
960:
948:. Retrieved
939:
929:
924:, p. 3.
917:
905:. Retrieved
899:
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865:. Retrieved
856:
846:
834:
822:
810:. Retrieved
805:The Guardian
803:
779:. Retrieved
774:The Scotsman
772:
748:
736:. Retrieved
732:
701:. Retrieved
692:
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670:. Retrieved
664:
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612:. Retrieved
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97:Running time
74:Release date
44:
20:
15:
2397:Bates Motel
2376:Norma Bates
2319:Bates Motel
2311:Bates Motel
2014:Louisa Buck
1948:Frank Cohen
1872:City Racing
1836:Gregor Muir
1686:Bullet Hole
1650:Andy Warhol
1589:Ian Jeffrey
1488:Sarah Lucas
1483:Chris Ofili
1428:Tracey Emin
1423:Tacita Dean
1393:Glenn Brown
1076:Mulvey 2004
812:16 November
614:16 November
432:Don DeLillo
427:Point Omega
257:Gordon saw
169:, Germany,
136:. It is an
57:Produced by
31:Directed by
2569:1993 films
2563:Categories
2416:The Murder
2399:characters
2391:Emma Spool
2386:Lila Crane
2364:Characters
2303:Television
2276:Psycho III
2034:Sarah Kent
1926:Collectors
1917:White Cube
1781:Brilliant!
1679:Break Down
1640:Jeff Koons
1613:Influences
1543:Gavin Turk
1513:Marc Quinn
1438:Nick Fudge
1383:Henry Bond
882:Price 2010
580:References
558:home video
547:storyboard
227:Production
213:two frames
128:is a 1993
2464:Hitchcock
2268:Psycho II
2217:Psycho II
2141:Post-YBAs
2105:Stuckists
2090:David Lee
2063:Opponents
2007:Advocates
1943:Eli Broad
1855:Galleries
1809:Sensation
1518:Fiona Rae
1468:Gary Hume
1255:234565584
1004:Ross 2006
992:Ross 2006
977:Ross 2006
965:Ross 2006
562:voyeurism
401:Gordon's
397:Aftermath
347:at will.
248:video art
65:Edited by
2501:Category
2351:season 5
2346:season 4
2341:season 3
2336:season 2
2331:season 1
2326:Episodes
2119:See also
1819:Curators
1664:Artworks
1567:Teachers
1328:AllMovie
944:Archived
901:CBC News
861:Archived
697:Archived
608:Archived
568:See also
538:suspense
270:tape of
221:no audio
185:Synopsis
114:Language
101:24 hours
41:Based on
2515:Portals
1371:Artists
1315:at the
534:Psycho'
497:Psycho'
289:Glasgow
106:Country
83: (
2483:(2017)
2475:(2010)
2467:(2012)
2459:(1993)
2451:(1990)
2314:(1987)
2295:(1998)
2292:Psycho
2287:(1990)
2279:(1986)
2271:(1983)
2263:(1960)
2260:Psycho
2244:(2016)
2236:(2013)
2228:(1990)
2220:(1982)
2212:(1959)
2209:Psycho
2201:Novels
2193:Psycho
2136:Momart
1795:Freeze
1721:My Bed
1282:
1253:
1239:(29).
1220:
1193:
1166:
1139:
1108:
950:28 May
907:28 May
867:28 May
781:28 May
738:28 May
703:28 May
672:28 May
490:Psycho
481:Psycho
477:memory
469:Psycho
460:Psycho
378:Psycho
341:Psycho
332:Berlin
309:Psycho
285:Psycho
272:Psycho
259:Psycho
208:Psycho
167:Berlin
147:Psycho
117:Silent
46:Psycho
2480:78/52
2408:Music
1773:Shows
1756:Tense
1714:House
1251:S2CID
808:. n.d
2529:Film
2252:Film
2070:BANK
1728:Myra
1306:IMDb
1280:ISBN
1218:ISBN
1191:ISBN
1164:ISBN
1137:ISBN
1106:ISBN
952:2023
909:2023
869:2023
814:2009
783:2023
740:2023
705:2023
674:2023
616:2009
85:1993
81:1993
2541:Art
2190:'s
1326:at
1304:at
1241:doi
666:NPR
336:VCR
330:in
268:VHS
201:of
189:An
165:in
140:of
49:by
2565::
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984:^
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771:.
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588:^
446:.
250:.
193:,
2517::
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2180:e
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87:)
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