Into the light: re‐considering off‐frame and off‐screen space in gallery films

Abstract

This paper explores the way that a body of films made for the gallery space (gallery films) both make use of and transform our understanding of off‐frame and off‐screen space. Focusing on examples from the work of Steve McQueen, George Barber, and Stan Douglas, I argue that once the frame is either emphasized or connected to the gallery space that surrounds it, so the off‐frame can be configured differently and the off‐screen is highlighted as a space where we confront the limits of representability. The consequences of all of this are evident in my final example: Isaac Julien's Vagabondia (2000).

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