Screen Play: Chronoscope, 1951, 11pm

Yazbeck, Alessandro Balteo; Farzin, Media

doi:10.1162/ARTM_a_00008

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February 01 2012

Screen Play: Chronoscope, 1951, 11pm

Alessandro Balteo Yazbeck,

Alessandro Balteo Yazbeck

Alessandro Balteo Yazbeck's work is informed by historic conceptual art. His approach highlights the notion of collaborative authorship by explicitly quoting, incorporating, or making reference to the works of others. His productions have been shown internationally since the mid-1990s and are represented in institutional and private collections. He was born in Caracas, Venezuela, and works between Caracas, New York, and, more recently, Berlin.

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Media Farzin

Media Farzin is a New York–based art historian and PhD candidate at the City University of New York. Her research looks at languagebased art in the 1960s and ′70s in relation to performance. She is a lecturer at the City College of New York and an instructor at the Museum of Modern Art.

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Author and Article Information

Alessandro Balteo Yazbeck

Alessandro Balteo Yazbeck's work is informed by historic conceptual art. His approach highlights the notion of collaborative authorship by explicitly quoting, incorporating, or making reference to the works of others. His productions have been shown internationally since the mid-1990s and are represented in institutional and private collections. He was born in Caracas, Venezuela, and works between Caracas, New York, and, more recently, Berlin.

Media Farzin

Media Farzin is a New York–based art historian and PhD candidate at the City University of New York. Her research looks at languagebased art in the 1960s and ′70s in relation to performance. She is a lecturer at the City College of New York and an instructor at the Museum of Modern Art.

Online ISSN: 2162-2582

Print ISSN: 2162-2574

2011

ARTMargins (2012) 1 (1): 132–147.

https://doi.org/10.1162/ARTM_a_00008

Abstract

“Screen Play” is a collaged conversation that entangles complementary views on international politics during the Cold War, particularly in relation to Iran. The text is a direct transcription from the Longines Chronoscope television news program (1951–55), but the speakers' words have been edited to bring them in dialogue with each other, emphasizing the program's role in the manufacture of consent, as a sounding board for Cold War discourse, and as a precursor of today's infotainment.

U.S. foreign relations, manufacturing consent, television/infotainment, oil reserves, soft power, time, Iran

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2011

Screen Play: Chronoscope, 1951, 11pm

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Screen Play: Chronoscope, 1951, 11pm

Abstract

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A product of The MIT Press

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MIT Press

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