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New York–based artist and filmmaker Carter (b. 1970) introduces the U.S. premiere of his most recent film, Erased James Franco (2008), and takes part in a post-screening conversation with its star, James Franco. Recalling the intellectual gamesmanship of Robert Rauschenberg's 1953 drawing Erased de Kooning, from which it derives its title, Erased James Franco is simultaneously a study of the craft of acting and of the fracturing—and reconstitution—of narrative and identity. While filmmakers in recent years have attempted shot-for-shot remakes of existing films—most notably Gus Van Sant with Alfred Hitchcock's Psycho and Michael Haneke with his own Funny Games—the emphasis here is on a single actor, alone on stage, recreating iconic film performances that have been stripped of their original context. In addition to reenacting scenes from several of his own past film roles, Franco also reinterprets a pair of haunting portrayals of psychic disintegration and renewal: Julianne Moore's role in Todd Haynes's Safe and Rock Hudson's in John Frankenheimer's Seconds. Denied the charged interplay with other actors, Franco adopts a strangely flat affect, imbuing the film with a quality that Carter describes as "like bloodletting or a kind of cleansing…a building up and tearing down, simultaneously." Courtesy Yvon Lambert Gallery, Paris.

In the Film exhibition Modern Mondays

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