PRINT October 2006



VANCOUVER-BASED ARTIST STAN DOUGLAS has reinvented some of the most significant works of cinema, from his elegantly looping six-minute, 16-mm work Subject to a Film: Marnie, 1989, which follows closely from Hitchcock’s 1964 original, to Suspiria, 2002/2003, a recombinant video mix of elements borrowed from Dario Argento’s gory, Technicolor-drenched 1977 cult classic of the same name, transposed to an eighteenth-century tower in Kassel, Germany, during Documenta 11. Douglas’s latest offering, Klatsassin—a high-definition video that will be screened in abridged form at the Vancouver International Film Festival this month before making its full-fledged debut at the Vienna Secession in November—likewise engages and elaborates a well-known work of cinema. Here the artist refashions Akira Kurosawa’s Rashomon (1950), a film famous for its multiple, contradictory accounts of a murder in a woods

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