scholarly journals APIE NEREPREZENTACINIO KINO GALIMYBĘ. NUO ANDRÉ BAZINO IKI GILLES’IO DELEUZE’O

2012 ◽  
Vol 11 ◽  
pp. 07-15
Author(s):  
Lukas Brašiškis
Keyword(s):  
Gilles Deleuze ◽  
Human Consciousness ◽  
French Film ◽  
Andre Bazin ◽  
Film Critic

Remiantis prancūzų kino kritiko ir teoretiko André Bazino pateiktomis ontologinėmis kino teorijos tezėmis bei Gilles’io Deleuze’o knygos Kinas 1: Vaizdinys-judėjimas ketvirtajame skyriuje išplėtotais Henri Bergsono filosofijos argumentais, straipsnyje svarstomos žmogiškajai percepcijai būdingų redukcinių tendencijų nedubliuojančio kino galimybės. Klasikinio kino realizmo samprata yra palyginama su nereprezentacinio kino idėja, akcentuojant Bazino aprašomą iš dalies žmogišką, iš dalies technologinę kino prigimtį, kaip sąlygą galimybei priartėti prie Bergsono aprašytos acentriškos realybės. Vietoje straipsnio išvadų Bazino pasiūlytos kino neantropocentriškumo potencijos apmąstymas yra aktualizuojamas šiandieninėje filosofijoje pastebimo spekuliatyviojo posūkio fone.Pagrindiniai žodžiai: nereprezentacinis kinas, realizmas, pasakojimas, montažas, acentriška realybė, spekuliatyvusis posūkis.ON THE POSSIBILITY OF NON-REPRESENTIONAL CINEMA. FROM ANDRÉ BAZIN TO GILLES DELEUZELukas BrašiškisSummaryReferring to the ontological arguments shown in the theory of the French film critic and theorist André Bazin and the arguments elaborated by Gilles Deleuze in the fourth chapter of his book Cinema 1: Movement-Image, the possibility of the cinema that does not duplicate the reductive tendencies of the intentional human consciousness is discussed in this article. The classical understanding of the notion of cinematic realism is compared with the idea of non-representational cinema, accentuating the partially technological and partially subjective nature of film, which was described by Bazin, and its way to put the film viewer closer to the perception of the Bergsonian acentric reality. Instead of giving a clear conclusion, the Bazinian idea of the non-anthropocentric cinema is actualized in the light of the speculative turn in today’s philosophy.Keywords: nonrepresentational cinema, realism, narrative, montage, acentric reality, speculative turn.

Rohmer, Éric (1920–2010)

2018 ◽  
Author(s):  
Maria Ionita
Keyword(s):  
New Wave ◽  
Moral Choice ◽  
French Film ◽  
French New Wave ◽  
Eric Rohmer ◽  
Theology And Philosophy ◽  
Film Critic

Éric Rohmer (born Jean-Marie-Maurice Schéer) was a French film director, screenwriter, and film critic, best known for his association with the French New Wave, and his sophisticated films exploring the intersections of romantic desire and moral choice. A student of literature, theology, and philosophy with a degree in history, Rohmer started as a teacher, but soon gravitated, like many future New Wave directors, toward Henri Langlois’ Cinémathèque Française and he also began writing for Cahiers du cinéma in 1951. He was its editor from 1957 to 1963.

scholarly journals El soñador y el vidente. Notas sobre el cine italiano de posguerra, a partir de Deleuze y Zambrano

2021 ◽  
Author(s):  
Antonio Castilla Cerezo
Keyword(s):  
Gilles Deleuze ◽  
Andre Bazin ◽  
Maria Zambrano

Gilles Deleuze consideró al neorrealismo italiano un «cine de vidente», con lo que quiso decir (como María Zambrano, y contra lo sostenido por André Bazin) que no supuso una nueva forma de realismo, sino una ruptura con este y, por extensión, con la prolongación de las situaciones ópticas y sonoras en esquemas sensoriomotores, en sustitución de los cuales habría dado lugar a situaciones ópticas y sonoras puras. ¿Por qué entonces Zambrano llamó a esta peculiaridad del cine italiano de posguerra «sueño», y no «videncia», como hizo Deleuze? He aquí la pregunta a la que estas páginas quieren dar respuesta.

Mahler and the Myth of the Total Symphony

2017 ◽  
Author(s):  
James Buhler
Keyword(s):  
Conceptual Framework ◽  
French Film ◽  
The World ◽  
Deep Focus ◽  
Film Critic

French film critic Bazin takes the ‘myth of total cinema’ to reveal a picture of its real history and sketches phases of a dialectical history based on it. Bazin’s conceptual framework gives rise to a fruitful metaphorical world. This essay uses Bazin’s ‘total cinema’ as a productive analogy through which to understand Mahler’s well-known comment: ‘The symphony must be like the world. It must embrace everything.’ With Bazin’s framework in mind, Mahler’s statement seems to express a will to the total symphony. By analogy, I ask what in Mahler’s art might correspond to the long take and deep-focus photography. I use this Bazinian ‘cinematic’ focus to reconsider crucial moments of the first movement of Mahler’s Sixth Symphony, most notably the purported ‘sketch’ of Alma in the second subject, which I argue contains a complex set of mirror-like reflections that complicates any attempt to assimilate the Sixth to the plot of a ‘terrifying Symphony Domestica’.

Bazin, André (1918–1958)

2018 ◽  
Author(s):  
Joel Neville Anderson
Keyword(s):  
Film Theory ◽  
Early Death ◽  
New Wave ◽  
Orson Welles ◽  
French Film ◽  
Nazi Occupation ◽  
French New Wave ◽  
Eric Rohmer ◽  
Andre Bazin ◽  
Robert Flaherty

André Bazin (born April 18, 1918, Angers, France–died November 11, 1958, Nogent-sur-Marne, France) was an influential French film critic who was active during the development of postwar film theory. Directing cine-clubs during the Nazi Occupation, he co-founded the monthly film magazine Cahiers du cinéma in 1951 with Jacques Doniol-Valcroze and Joseph-Marie Lo Duca, which he edited until his early death of leukaemia. Publishing 2,600 articles during his lifetime, he was preparing the four-volume collection of his writing, Qu-est-ce que le cinéma? [What Is Cinema?], at the time of his death. A champion of Italian Neorealism, Robert Flaherty, Jean Renoir, and Orson Welles, he helped to launch filmmakers of the French New Wave [Nouvelle vague] who developed their formal convictions as writers at Cahiers, including Claude Chabrol, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, and his foster-son François Truffaut.

André Bazin, or the Ambiguity of Reality

2016 ◽  
Author(s):  
Pierre Sorlin
Keyword(s):  
Chemical Reaction ◽  
Premature Death ◽  
Human Beings ◽  
Variable Nature ◽  
The World ◽  
Andre Bazin ◽  
Film Critic

André Bazin, a teacher and a film critic, was intent on making his students and readers realize that the cinema offered them a unique tool to discover the world. After his premature death at the age of 50, his friends collected some of his articles, republishing them in a variety of formats. However, the variable nature of this series of montages sometimes provoked misinterpretations. For example, a sentence on the “irresistible realism” of film was considered a proof that, for him, cinematic images copied reality. However, this chapter will argue that Bazin’s conception of both film and reality was far more elaborate and sophisticated than that. Bazin argued that there are so many things around us that we cannot see them all, we thus only ever know a small portion of the surrounding reality. Human beings have long drawn portraits and landscapes in order to observe at leisure what interests them. Unlike drawings, biased by the artist’s feelings, photography is “objective” since it is merely the effect of a chemical reaction and, beside its target, for instance a person, it registers, unwillingly, aspects of the surroundings such as they are. Film is as unbiased as photography and in addition gives faithful motion reproduction. While watching a long sequence taken in distant shot we may become aware of people, actions, situations appearing in the background and that we wouldn’t have noticed otherwise. Thanks to its realism a film can help us to gain a less narrow vision of reality.

Documenting the Future: Visual Design

2019 ◽  
pp. 39-66
Author(s):  
Dan Dinello
Keyword(s):  
Visual Design ◽  
Long Distance ◽  
Hollywood Film ◽  
French Film ◽  
Production Values ◽  
Mise En Scene ◽  
The Future ◽  
Visual Style ◽  
Andre Bazin ◽  
The Aesthetic

This chapter details how Alfonso Cuarón's Children of Men eschews the glamorous production values of the standard Hollywood film and moves into the transgressive realm of simulated reportage. It elaborates Children of Men's realism by Cuarón's incorporation of the handheld camera with uninterrupted long takes, complex compositions with multiple planes of action, and an emphasis on medium and long-distance shots rather than close-ups. It also analyses Children of Men's visual style that reflects the aesthetic of French film theorist Andre Bazin. The chapter discusses how Cuarón takes a 'present-in-the-future' approach to the mise-en-scène and insistently cross-references the nightmarish state-of-siege future with staged versions of historical, politically charged imagery. It examines Children of Men as a transhistorical critique.

A Woman of Paris: Geraldine Chaplin across French cinema

2020 ◽  
pp. 156-201
Author(s):  
Steven Rybin
Keyword(s):  
Public Life ◽  
Film Criticism ◽  
French Cinema ◽  
Alain Resnais ◽  
Charlie Chaplin ◽  
French Film ◽  
Eric Rohmer ◽  
Major Figure ◽  
Andre Bazin ◽  
French Films

Charlie Chaplin was a major figure in postwar film criticism, particularly in France, where critical luminaries such as André Bazin, Éric Rohmer, François Truffaut, and Jacques Rivette all wrote on his work. Early in her career, Geraldine Chaplin inherited her father’s Parisian legacy, in both discourse on her public life in France (where she lived and worked early in her career) and also across a number of French films in which she played a central role. This chapter examines Geraldine’s work in France for filmmakers such as Jacques Rivette, Alain Resnais, and Michel Deville in the context of French film culture’s fascination with her father, showing how Geraldine herself intervened in and redirected this critical legacy through her own performances.

Truffaut, François (1932–1984)

2018 ◽  
Author(s):  
Maria Ionita
Keyword(s):  
New Wave ◽  
French Film ◽  
French New Wave ◽  
Film Critic

François Truffaut was a French film director, actor, and film critic, best known for being one of the founders of the French New Wave—a movement he helped usher in with his film Les Quatre cents coups (The 400 Blows, 1959)—a realistic, compassionate tale of youthful alienation and rebellion.

scholarly journals Dans la serre: Framing the greenhouse in Le Jour se lève (1939) and La Règle du jeu (1939)

2018 ◽  
Vol 29 (2) ◽  
pp. 138-154
Author(s):  
Barry Nevin
Keyword(s):  
International Politics ◽  
Gilles Deleuze ◽  
Ruling Class ◽  
French Cinema ◽  
Modus Operandi ◽  
Mise En Scene ◽  
Andre Bazin

Beyond the year of their production, their notoriously foreboding references to contemporary national and international politics, and their shared status as canonised classics of French cinema, Marcel Carné’s Le Jour se lève (1939) and Jean Renoir’s La Règle du jeu (1939) both portray the romantic union of two parties within a greenhouse. This article aims to elaborate on these images in two central ways: first, it theorises glass in cinema with reference to the writings of André Bazin and Gilles Deleuze; second, it situates Carné and Renoir’s greenhouses within their respective dramatic, aesthetic and political contexts. In both cases, the narrative inscribes specific socio-economic associations and a related conceptualisation of temporality in the image of the greenhouse rather than merely reducing it to an inert, physically circumscribed space. Furthermore, whereas the mise en scène of Carné’s greenhouse concretises the dialectics of memory and recollection manifested through his film’s flashbacks, Renoir’s greenhouse provides a meta-filmic commentary on his own obsolete efforts to immerse himself in the foibles of the haute bourgeoisie and to liberate his country’s ruling class from its outmoded modus operandi.

Livia als Emma

2021 ◽  
pp. 109-130
Author(s):  
Marijana Erstic
Keyword(s):  
Gilles Deleuze ◽  
Madame Bovary ◽  
Andre Bazin

Im Zentrum des Aufsatzes »Livia als Emma« steht Luchino Viscontis Film »Senso« (1954, dt. »Sehnsucht«). André Bazin zufolge ist dieser Film »der romanhaften Ästhetik ähnlich, die in der Tradition Flauberts steht und besonders durch den Naturalismus bekräftigt ist.« Zwar hat Viscontis Senso eine andere literarische Vorlage als Gustave Flauberts so genannten realistischen Roman »Madame Bovary«, doch ist seine Contessa Livia in ihrem Selbstbetrug und vielleicht auch in ihrem nüchtern geschilderten schwärmerischen Charakter Flauberts Figuren nahe. Diese sind bekanntlich für eine sentimentale Erziehung empfänglich, so vor allem, auf je unterschiedliche Art, Frédéric Moreau und Emma Bovary. Luchino Viscontis Film zeigt in flaubertscher Manier, was passiert, wenn der Wunsch nach einem anderen und vermutlich besseren Lieben und Leben jemanden ergreift, der zur Oberschicht gehört - und das inmitten einer Revolution. Der italienische Neorealist gestaltet in »Senso« aus der gleichnamigen Novelle Camillo Boitos einen filmischen und typisch italienischen Ehebruchsroman, der mit Verweisen auf die großen Romane des 19. Jahrhunderts arbeitet. So wird Livias und Emmas vergleichbare Vorliebe für Liebes-Sujets in Luchino Viscontis Film »Senso« auch als entlarvendes Kristallbild (Gilles Deleuze) eingesetzt. Der Beitrag befasst sich mit Parallelen und Unterschieden zwischen Text und Film.

Sign in / Sign up

Export Citation Format

Share Document