Killing Orson Welles at Midnight

The Clock

a film by Christian Marclay
at the White Cube, London, October 15–November 13, 2010; the Paula Cooper Gallery, New York City, January 21–February 19, 2011; the Hayward Gallery, London, February 16–April 17, 2011; the Centre for Contemporary Arts, Glasgow, May 27–August 21, 2011; and the Plymouth Art Centre, September 17–December 4, 2011

The Clock is a twenty-four-hour movie that tells the time. This is achieved by editing together clips of movies in which clocks appear. But The Clock is so monumental in intention and design that even the simplest things you can say about it need qualification. There isn’t, for example, a clock visible in every scene. Sometimes people will only mention the time, or even just speak of time as a general concept. Mary Poppins does less than that; she glances at her wristwatch, the face of which we cannot see, then opens her umbrella and flies, to be replaced, a moment later, by a man, also flying with an umbrella, who soon floats past a clock tower, thus revealing the time.

This article is available to subscribers only.
Please choose from one of the options below to access this article:

Print Subscription — $74.95

Purchase a print subscription (20 issues per year) and also receive online access to all articles published within the last five years.

Online Subscription — $69.00

Purchase an Online Edition subscription and receive full access to all articles published by the Review since 1963.

One-Week Access — $4.99

Purchase a trial Online Edition subscription and receive unlimited access for one week to all the content on

If you already have one of these subscriptions, please be sure you are logged in to your account. If you subscribe to the print edition, you may also need to link your web site account to your print subscription. Click here to link your account services.