By Stebbins J.
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L’Ellipse constitutes an act of appropriation (perhaps even vampirism) and takes up the theme of the double identified by Elsaesser by literally inserting another Ganz into the narrative. But Huyghe’s exploration of doubling also extends into the sphere of setting and location. Although it is conventional in feature film production to shoot interior scenes in a studio and use different locations for exterior shots, The American Friend was shot almost entirely on location, making use of actual apartments, shops and offices.
Through this gesture, Huyghe alludes to the possibility of a continually unfolding cinematic representation, while the presence of Ganz (now twenty years older and no longer wearing a moustache) highlights the material changes wrought in the ‘gap’ between 1977 and 1998. Maria Walsh has argued that the ‘purpose of Huyghe’s intervention is supposedly to draw attention to Hollywood’s foreclosing of real time by means of the illusions of montage’57 but this seems to overlook the complex exploration of temporal and spatial relations already at work within The American Friend.
69 She proposes that these procedural changes have actually contributed to a renewed insistence on the artist as the progenitor of meaning, even where authorship is deferred to others through processes of collaboration or the institutional framework is ‘self-consciously integrated into the work’. 70 The key point in her analysis is that ‘the signifying chain of siteoriented art’ is integrally linked to the movement of the artist from one place to another, continually generating other ‘sites’ in the form of their exhibition history.