From Pompeii to Marienbad: Classical Sculptures in Postwar European Modernist Cinema

2017 ◽  
pp. 118-136
Author(s):  
Steven Jacobs ◽  
Lisa Colpaert
Keyword(s):  
Human Body ◽  
Time History ◽  
Alain Resnais ◽  
Death Time ◽  
Roberto Rossellini ◽  
Significant Motif ◽  
The 1950S ◽  
Luchino Visconti ◽  
Chris Marker

The statue is a significant motif in many key films of the European modernist cinema of the 1950s and 1960s. Famous examples are Les Statues meurent aussi (Alain Resnais and Chris Marker, 1953), Viaggio in Italia (Roberto Rossellini, 1953), L’Année dernière à Marienbad (Alain Resnais, 1961), La Jetée (Chris Marker, 1962), Jules et Jim (François Truffaut, 1962), Méditerranée ( Jean-Daniel Pollet, 1963), Le Mépris ( Jean-Luc Godard, 1963), Il Gattopardo (Luchino Visconti, 1963), Une Femme mariée ( Jean-Luc Godard, 1964), Gertrud (Carl Theodor Dreyer, 1964), and Vaghe stelle dell’orsa (Luchino Visconti, 1965). Focusing on Rossellini’s Viaggio in Italia (Journey to Italy, 1953) and Resnais’ L’Année dernière à Marienbad (Last Year in Marienbad, 1961) as cases in point, this chapter not only traces the fascination for sculpture in modernist cinema but also explains it by examining the ways in which statues are presented as tokens of death, time, history, myth, memory, the human body, and strategies of doubling – important topics for many of the leading modernist directors working in the 1950s and 1960s.

scholarly journals Intertextuality and Mise en Abyme in Nobuhiro Suwa’s H Story and A Perfect Couple. Between European Modernity and Japan

Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 57
Author(s):  
Miguel Muñoz-Garnica
Keyword(s):  
Case Studies ◽  
Complex Relationship ◽  
Alain Resnais ◽  
Mise En Abyme ◽  
Feature Films ◽  
Roberto Rossellini

Nobuhiro Suwa, often called “the most French of Japanese directors”, has a complex relationship with European cinematic modernity. His two feature films H Story (2001) and A Perfect Couple (2005) can provide useful case studies, as they were created in dialogue with two key references of that modernity: Hiroshima mon amour (1959, Alain Resnais) and Journey to Italy (Viaggio in Italia, 1954, Roberto Rossellini), respectively. Both films tend to confront and gloss their previous pairs, but they are also continuations of their concerns and their aesthetical discoveries. The presence of intertextuality elements connecting those films, as well as the use of myse en abyme structures are deeply analyzed in this article to attain a greater understanding on how this process of transcultural dialogue works. Besides, both films exemplify different ways of developing the references on which they are built, namely deconstruction for H Story and reconstruction for A Perfect Couple.

Experimentieren, um zu sehen

2012 ◽  
Vol 57 (2) ◽  
pp. 26-43
Author(s):  
Georges Didi-Huberman
Keyword(s):  
Point Of View ◽  
Literary Field ◽  
Alain Resnais ◽  
Visual Style ◽  
Technical Reproducibility ◽  
Andre Malraux ◽  
Imaginary Field ◽  
Chris Marker

Ausgehend vom Standpunkt eines visuellen und kognitiven Experimentierens beschäftigt sich der Beitrag mit der Arbeit André Malraux’ zu den Illustrationen seines Musée imaginaire. Es handelt sich um eine Arbeit, die explizit vom Benjamin der »technischen Reproduzierbarkeit« und des »Autors als Produzenten« inspiriert ist. Studiert wird die Öffnung des imaginären Feldes, wie sie die Praxis des Kunstbuchs – als einem Album, das von einer Art Expressivität der Rahmung, Beleuchtung und Montage getragen wird – bei Malraux nahelegt. Durch diese Praxis der Montage konstruiert Malraux die Autorität seines visuellen Stils und die Schließung seines literarischen Feldes. Vor allem aber setzt sich der Beitrag – auf kritische Weise – mit dem anti-historischen und anti-politischen Zielpunkt seiner Ästhetik auseinander, die von Benjamin weit entfernt zu stehen kommt. Am Schluss steht der Vergleich zwischen zwei zeitgenössischen Werken, Le Musee imaginaire de la sculpture mondiale von Malraux und Les Statues meurent aussi, einem Film von Chris Marker und Alain Resnais.<br><br>Our paper deals with the work of André Malraux on the illustrations for his Musée imaginaire from the point of view of visual and cognitive experimentation. This work is explicitly inspired by the Benjamin of the »technical reproducibility« and the »author as producer.« We examine the opening of the imaginary field, as it is suggested by the praxis of the art book – an album of images that is supported by a certain kind of expressivity of framing, illumination and montage – in Malraux. Through this praxis of montage, Malraux constructs the authority of his visual style and the closure of the literary field. Above all, however, we discuss critically the anti-historical and anti-political destiny of his aesthetics, which in the end is quite far from Benjamin’s, and we conclude with a comparison between two contemporary artworks, namely Malraux’ Le Musee imaginaire de la sculpture mondiale and Les Statues meurent aussi, a film by Chris Marker and Alain Resnais.

scholarly journals Pragmatic Specifics of Color Designations of the Human Body in Forensic Medical Investigation

2020 ◽  
Vol 18 (4) ◽  
pp. 58-68
Author(s):  
Sofya B. Vladimirova
Keyword(s):  
Human Body ◽  
Semantic Analysis ◽  
Russian Language ◽  
Social Significance ◽  
Color Terms ◽  
Main Research ◽  
Continuous Sampling ◽  
Death Time ◽  
The One ◽  
Selection Of

This article is devoted to the pragmatic specifics of the color designations of the human body in the text of a forensic medical investigation. The forensic post-mortem investigation text includes data on external and internal research, special attention is paid to the designation of the color of the human body, its parts, organs, injuries and other phenomena discovered during the research, because these data can be important for determining the cause of death, time of death and resolution of other questions posed to the expert. A reliable color identification of these objects and their sufficient description in the text of the conclusion is one of the criteria for the completeness of the forensic medical examination. Texts of this type, despite their great social significance, are insufficiently studied with regard to pragmatics and rarely become objects of linguistic research. The purpose of this article is to identify pragmatic specifics of the selection of human bodies’ color designations in the text of a forensic medical investigation through their structural and semantic analysis. The main research methods are the continuous sampling method for highlighting color designations; quantitative analysis to single out the most frequent lexemes, structural and semantic analysis. Out of 20 texts of forensic medical expertise, with the help of continuous sampling we found 1173 color designations represented by 204 different lexemes. The following colors turned out to be the most frequent: темно-красный (dark red, 152), серый (gray, 79), желтоватый (yellowish, 45), сероватый (grayish, 39), белесоватый (whitish, 36), краснокоричневый and жёлтый (red-brown and yellow, 35 for each), серо-розовый (gray-pink, 31), бледно-серый (pale gray, 27), тёмный (dark, 23). These colors were most widely distributed: тёмно-красный (dark red, in 20 texts), желтоватый (yellowish, in 17 ones), белесоватый, серый and жёлтый (whitish, gray and yellow, in 16 ones), краснокоричневый (red-brown, in 15 ones), сероватый (grayish, in 14 ones), серо-розовый (gray-pink, in 12 ones), синюшный and бледный (cyanotic and pale, in 11 ones). Structural analysis showed the predominance of hue color designations over absolute ones; two- and three-component terms over single-component ones, and the widespread use of formants that specify the color intensity. The semantic analysis showed an insignificant number of color terms that have a metaphorical meaning, as well as complete absence of “authorisms” and stylistically colored color terms. Two main pragmatic intentions were established that characterize the selection of color terms in this type of text: on the one hand, it is due to the referent and the need to convey its color as accurately as possible with the lexical means of the Russian language, and on the other, the need to use only common lexemes.

Chris Marker

2013 ◽  
Author(s):  
Steven Jacobs ◽  
Sofie Verdoodt
Keyword(s):  
World War Ii ◽  
Air Force ◽  
United States Air Force ◽  
The United States ◽  
Marguerite Duras ◽  
World War ◽  
German Occupation ◽  
Alain Resnais ◽  
History Of ◽  
Chris Marker

Chris Marker is a pseudonym of Christian François Bouche-Villeneuve (b. 1921, Neuilly-sur-Seine, France–d. 2012, Paris, France), a French director, screenwriter, photographer, editor, writer, and multimedia artist. A major figure in the history of both experimental and documentary film, Marker turned out to be a mythic artist, who is always elusive about his past—even his place of birth is highly disputed (Ulan Bator, Mongolia, and Belleville, Paris compete with Neuilly-sur-Seine). In addition, Marker was known to refuse interviews and not allow photographs to be taken of him (though these claims are not entirely accurate). After studying philosophy prior to World War II, an involvement in the French Resistance during the German occupation, and having joined the United States Air Force as a paratrooper, Marker emerged as an intellectual, journalist, writer, and photographer in Paris in the 1940s. Already he showed a particular interest in filmmaking and he eventually made his debut as a filmmaker in 1952 with a documentary of the Helsinki Olympic Games. Soon after, he collaborated with Alain Resnais on Les Statues meurent aussi—both Marker and Resnais became key members (next to Agnès Varda, Jean Rouch, and Marguerite Duras) of the so-called Rive Gauche group. From the 1950s onward, Marker made seminal documentary essay films such as Dimanche à Pékin, Lettre de Sibérie, and Le Joli Mai. In 1962, he became known internationally for the short La Jetée (The Pier), which consists of still photographs. After his involvement in collective and radical filmmaking for SLON and ISKRA in the period 1967–1974, Marker made Sans Soleil, his best-known and most widely seen essay film that combines documentary and fiction. Already interested in the interactions between various media from the beginning of his career, Marker also developed into a leading video and multimedia artist beginning in the 1980s.

Modeling Articulated Human Body Dynamics Under a Representative Blast Loading

2011 ◽  
Author(s):  
X. G. Tan ◽  
Andrzej J. Przekwas ◽  
Gregory Rule ◽  
Kaushik Iyer ◽  
Kyle Ott ◽  
...  
Keyword(s):  
Blast Wave ◽  
Human Body ◽  
Fluid Dynamic ◽  
Free Field ◽  
Time History ◽  
Blast Loading ◽  
Blast Waves ◽  
Time Step ◽  
Time Step Size ◽  
Body Dynamics

Blast waves resulting from both industrial explosions and terrorist attacks cause devastating effects to exposed humans and structures. Blast related injuries are frequently reported in the international news and are of great interest to agencies involved in military and civilian protection. Mathematical models of explosion blast interaction with structures and humans can provide valuable input in the design of protective structures and practices, in injury diagnostics and forensics. Accurate simulation of blast wave interaction with a human body and the human body biodynamic response to the blast loading is very challenging and to the best of our knowledge has not been reported yet. A high-fidelity computational fluid dynamic (CFD) model is required to capture the reflections, diffractions, areas of stagnation, and other effects when the shock and blast waves respond to an object placed in the field. In this effort we simulated a representative free field blast event with a standing human exposed to the threat using the Second Order Hydrodynamic Automatic Mesh Refinement Code (SHAMRC). During the CFD analysis the pressure time history around the human body is calculated, along with the fragment loads. Subsequently these blast loads are applied to a fully articulated human body using the multi-physics code CoBi. In CoBi we developed a novel computational model for the articulated human body dynamics by utilizing the anatomical geometry of human body. The articulated human body dynamics are computed by an implicit multi-body solver which ensures the unconditional stability and guarantees the quadratic rate of convergence. The developed solver enforces the kinematic constraints well while imposing no limitation on the time step size. The main advantage of the model is the anatomical surface representation of a human body which can accurately account for both the surface loading and the surface interaction. The inertial properties are calculated using a finite element method. We also developed an efficient interface to apply the blast wave loading on the human body surface. The numerical results show that the developed model is capable of reasonably predicting the human body dynamics and can be used to study the primary injury mechanism. We also demonstrate that the human body response is affected by many factors such as human inertia properties, contact damping and the coefficient of friction between the human body and the environment. By comparing the computational results with the real scenario, we can calibrate these input parameters to improve the accuracy of articulated human body model.

scholarly journals Time History of Human Gallstones: Application of the Post-Bomb Radiocarbon Signal

Radiocarbon ◽  
1983 ◽  
Vol 25 (2) ◽  
pp. 629-636 ◽  
Author(s):  
Ellen M Druffel ◽  
Henry Y I Mok
Keyword(s):  
Growth Rate ◽  
Human Body ◽  
Time History ◽  
Biochemical Process ◽  
Short Term ◽  
Average Growth Rate ◽  
Average Growth ◽  
Bomb Radiocarbon ◽  
Time Histories ◽  
History Of

Bomb-produced 14C is a valuable tool for studying rates of short-term processes involving carbon cycling. This study shows that bomb 14C is an excellent tracer of a biochemical process that takes place in the human body, namely the accretion of stones in the gallbladder. The methods developed for obtaining time histories of 14C/12C and 13C/12C in concentric layers from a large gallstone (30mm diameter) are reported. Formation times are assigned by matching the 14C/12C obtained from individual layers with those found for known-aged tree rings. Results show that the gallstone grew over a period of 10 years and seems to have lain dormant within the gallbladder for a period of 11 years. The average growth rate was 1.5mm/year.

scholarly journals “Of course there is no such thing as a socialist handstand, but …”: Socialism, Humanism, and Virtuosity in East German Variety Theatre Practice during the 1950s and 1960s

2017 ◽  
Vol 58 (1) ◽  
pp. 48-67
Author(s):  
Andy Machals
Keyword(s):  
Human Body ◽  
History Of ◽  
East German ◽  
The 1950S

While researching the history of performance at Berlin's Friedrichstadt-Palast I had come across this rejection of the idea of “a socialist handstand” many times, before I realized the extent to which the judgment had been qualified: Of course there is no such thing as a socialist handstand, but there are many crucial elements in an acrobatic number, for instance the beauty of the human body, bravery, and concentration. An artistic presentation can be of humanistic character, but also of nihilistic character. But first and foremost, it must shape taste, and be pioneering.

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