Entrando al cinema. Il ritmo come segreto del mondo

2019 ◽  
Vol 21 ◽  
pp. 239-251
Author(s):  
Gianluca Solla ◽  
Keyword(s):  
Actual Usage ◽  
The Gaze ◽  
Collège De France ◽  
The World ◽  
The Spectator ◽  
Cette Notion

Nella conferenza su Le cinéma et la nouvelle psychologie Merleau-Ponty introduce una singolare, ma decisiva notazione sull’arte filmica, legandola alla nozione di “ritmo”. Tale nozione dà avvio a una riflessione sull’immagine e sul rapporto tra l’immagine e lo sguardo dello spettatore al cinema. Nel presente articolo, l’uso che Merleau-Ponty ne fa e il senso di questa operazione saranno letti in riferimento alla riflessione di Émile Benveniste sul ritmo e ad alcune annotazioni contenute nei corsi di Merleau-Ponty al Collège de France, di qualche anno successivi alla conferenza, su Le monde sensible et le monde de l’expression e quello sulle Recherches sur l’usage littéraire du langage. Dans le texte de sa conférence sur Le cinéma et la nouvelle psychologie, Merleau-Ponty introduit une lecture, singulière mais décisive, de l’art filmique, en la rapprochant de la notion de « rythme ». Cette notion engage une réflexion sur l’image et sur le rapport entre l’image et le regard du spectateur au cinéma. Dans cet article, l’utilisation que Merleau-Ponty en fait et le sens de cette opération seront lus à partir de la réflexion d’Émile Benveniste sur le rythme et à partir de certaines notes présentes dans les cours de Merleau-Ponty au Collège de France sur Le monde sensible et le monde de l’expression et sur les Recherches sur l’usage littéraire du langage, qui suivent de quelques années la conférence.In the text of his lecture on “Film and the new psychology,” Merleau-Ponty introduces a singular and decisive reading of filmic art, approaching the notion of “rhythm.” This notion engages in a reflection on image and on the relation between the image and the gaze of the spectator at the cinema. In this article, Merleau-Ponty’s actual usage of this notion and the meaning of this operation will be read starting from the reflection of Émile Benveniste on rhythm as well as certain notes presented in Merleau-Ponty’s courses at the Collège de France on The sensible world and the world of expression and Research on the literary usages of language, that follow some years after the lecture.

The Transfer of Power, 1947

1982 ◽  
Vol 16 (1) ◽  
pp. 1-32 ◽  
Author(s):  
W. H. Morris-Jones
Keyword(s):  
Title I ◽  
Direct Acquaintance ◽  
The World ◽  
The Spectator ◽  
The Way

Those who kindly invited me to give this lecture showed some resistance to its sub-title. I insisted on ‘a view from the sidelines’ because I wished to emphasize that my remarks would be based on my own presence at the events of 1947 and confined to those matters with which I had direct acquaintance. This is still largely true: mine is in part an undisguisedly personal tale. But the matter is rather more complicated. For one thing, while I was certainly a spectator I was also able for a couple of months in 1947 to scamper on to a segment of New Delhi's field of fateful play, even to get a touch or two of the ball, before returning to my place on the terraces. But for the purpose of this lecture I could not content myself with recollections; I have, as it were, examined the slow re-plays of the television cameras. In trying to match my memories, diaries and letters from 1947 with the files at India Office Records, there have, I confess, been phases of bewilderment on the way to such modest and provisional enlightenment as I can offer. It is not simply that in the 34 years the world has moved on, the perspective has changed; that is a problem which the historian's whole skill is devoted to overcome. The difficulty is aggravated when the spectator cum minor actor in the drama of yesteryear puts on the historian's robe; for not only the world but he with it has changed.

I Love You. Who Are You? The Strategy of Drama in Recognition Scenes

PMLA ◽  
1977 ◽  
Vol 92 (2) ◽  
pp. 297-306
Author(s):  
Helene Keyssar
Keyword(s):  
King Lear ◽  
Audience Participation ◽  
Stanley Cavell ◽  
The World ◽  
The Spectator ◽  
Critical Process

Audience participation in theater often obscures or confuses the magical nature of the activity of theater. The uniqueness of this activity is centered in the separateness of the world of the play from the world of the audience, as Stanley Cavell remarks. The importance of such separateness becomes vivid in recognition scenes which are the structural core of most drama. Aristotle perceives the importance of recognition scenes, but does not show adequately what such scenes do to the spectator. The recognition scenes in Sophocles’ Oedipus Rex and Shakespeare’s King Lear reveal drama’s special ability to allow the spectator to acknowledge another while himself remaining private. The critical process involved in coming to such an understanding of drama, while similar to some elements of structuralistic analysis, focuses more directly on a concern with the patterns of relationship between play and audience. My methodology corresponds to Stanley Fish’s “affective” stylistics.

scholarly journals Baleia, de Graciliano Ramos: uma meditação sobre a vida sensível do animal

2017 ◽  
Vol 2 (2) ◽  
Author(s):  
Fernanda Coutinho
Keyword(s):  
Nonhuman Animal ◽  
Human Reasoning ◽  
The Novel ◽  
The Gaze ◽  
The Family ◽  
The World ◽  
The Status

In this essay, I examine the status of Baleia, the family dog in Graciliano Ramos’s Vidas secas (1938). My principal interest is to analyse the attenuation of distances and the differentiation of sensibility between humans and animals in the novel. I argue that Baleia allows Ramos to leave aside an absolute belief in human reasoning and think of the nonhuman animal as a being endowed with complexity. In this, Ramos deviates from a speciesist appreciation of history and sharpens the gaze of his readers with respect to the limitations of our understanding of the world and its beings.

scholarly journals Cliplike Montage and Illusory World

2012 ◽  
Vol 4 (2-3) ◽  
pp. 131-146
Author(s):  
Natalia Ivanovna Utilova
Keyword(s):  
Sense Perception ◽  
Music Video ◽  
Academic Interest ◽  
The World ◽  
The Spectator

The present publication is a fragment of a survey devoted to the emergence and development of the music video montage which enhances the sense perception of screen images plunging the spectator into the world of illusion. The search for the origins of this montage form are of not only academic interest, but reveal certain practical possibilities of using music video montage in various audiovisual genres outside TV.

Kubrick’s audible bodies: unseen subjectivities in 2001 and The Shining

Semiotica ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
James Batcho
Keyword(s):  
The Body ◽  
Stanley Kubrick ◽  
The Gaze ◽  
The World ◽  
Film Spectatorship ◽  
Visual Gaze

Abstract Stanley Kubrick is regarded as a filmmaker of complex imagery. Yet the vitality of his more metaphysical works lies in what is unseen. There is an embodiment to Kubrick’s films that maintains a sense of subjectivity, but one which is unapparent and non-visual. This opens another way into Kubrick’s works, that of conditions of audibility (hearing/listening), affectivity, and signs. To think of embodiment from such an audible perspective requires one to subvert film spectatorship (the frame) and instead enter the reality of the film’s immanent, borderless unfolding as itself. This essay applies Gilles Deleuze’s semiotic concepts of cinema, metaphysics, and subjectivity to conditions of audibility and unseeing, a connection Deleuze largely ignored in his writings. These dual concepts of audibility and unseeing break prevailing analytical norms in cinema discourse that affirm limitations via material, visual, textual, and spatial reification: subjective-objective delineations, the body and the gaze, sound as necessarily spatial/material, and the dominance of images in regard to aesthetics, surveillance, and evidence. Instead, this essay moves through Kubrick’s constructions of milieu that are unseen in the midst of an otherwise visual unfolding, and audible in the midst of an otherwise sonic unfolding. To consider Kubrick’s films through their audible embodiment, one must detach (1) the microphone from its adherence to space, (2) the body from its visual gaze. Here, sounds, images, and objects become secondary to hearing and signs in a temporal unfolding, resulting in a cinema that is experiential rather than representational. This opens to an actuality of spirit within the world of the film, offering new opportunities for creativity in the cinematic form.

The Lacking Sense of Cinema: Aleksandr Proshkin’s The Miracle (2009)

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
Cultural Discourse ◽  
Temporal Perspective ◽  
The Real ◽  
The Gaze ◽  
The Uncanny ◽  
The World ◽  
Ontological Sense ◽  
The Voice ◽  
Lost Object

The Miracle documents the introduction of the symbolic into the real by means of sensing the lack, or in Lacan’s terms, the lack-of-being. The lost object—whether voice, memory or senses—is the ultimate horror because it reveals the uncanny voids in the discourse. Being is conceived simultaneously in the ontological sense of openness within which ideas emerge, and being in the noumenal sense of the world, or of entities separated in the world from the temporal perspective—the vibrations of time and culture. The symbolic is the ontological horizon of Being whereas its anterior is the lack-of-being, that is, the there-of-Being (Dasein) lacks its place in the order of reality. The symbolic mode is characterised by the minimal gap between its elements and places they occupy: as Lacan noted, in order for the gap between elements to occur, something has to be fundamentally excluded. What happens in psychosis—and in The Miracle—is precisely the inclusion of this lacking object into the frame of ‘reality’. It appears within the constructed world as the hallucinated, or imagined, or mystified object: the voice, which in this case equals the gaze, haunts the cultural discourse as paranoiac.

scholarly journals (Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1

2013 ◽  
Vol 6 (1) ◽  
pp. 35-48
Author(s):  
Emőke Simon
Keyword(s):  
Visual Experience ◽  
Avant Garde ◽  
Short Films ◽  
The World ◽  
Way Of Thinking ◽  
The Spectator ◽  
Stan Brakhage ◽  
The Way

Abstract Considered as one of the main figures of the avant-garde lyrical cinema, Stan Brakhage questions perception. His language of inquiry constantly confronts the spectator with the limits of visual experience of the world and the multiple possibilities of their transgression. Critically addressing one of his short films, Visions in Meditation n°l (1989),1 this analysis aims to discuss the way movement may become a principle of perception, that is to say, according to Gilles Deleuze’s definition - a mode of transgressing the frame of representation. Reappropriating the cinematographic grammar and submitting it to a vibrating movement, Brakhage invents a rhythm which paves the way for a transcendental experience, meanwhile proposing a reflection on the meditative possibilities of the film in terms of the image in meditation. Gilles Deleuze’s way of thinking of cinema in Cinema 1: Movement-image, as well as Slavoj Žižek’s writings on cinema, allows one to consider movement in its cinematographic and philosophical meaning, a project which in Brakhage’s case seems to be primordial

Maurice Merleau-Ponty

Philosophy ◽  
2018 ◽  
Author(s):  
Wayne Froman ◽  
Meirav Almog
Keyword(s):  
Editorial Board Member ◽  
Lived Body ◽  
Sense Data ◽  
Collège De France ◽  
Jean Paul ◽  
Phenomenology Of Perception ◽  
The World ◽  
Gestural Analysis ◽  
The Invisible

Merleau-Ponty (b. 1908–d. 1961) was a major 20th-century French philosopher and contributor to phenomenology. He studied at the École Normale Supérieure from 1926 to 1930, received the aggrégation in philosophy in 1930 and the Docteur ès lettres in 1945. After early teaching largely in psychology, culminating with a Sorbonne appointment as professor of child psychology and pedagogy, he was elected in 1952 to the Chair in Philosophy at the Collège de France, as the youngest philosopher ever in this position, which he held until his death. His inaugural lecture was published as Éloge de la philosophie (In Praise of Philosophy). In 1945, Merleau-Ponty became, along with Raymond Aron, Simone de Beauvoir, and Jean-Paul Sartre, a founding editorial board member as well as political editor of Les temps modernes, a journal devoted to “la philosophie engagée.” In 1953 he resigned from the journal. After the Korean conflict, Merleau-Ponty’s political difference with Sartre was acute, and in Les aventures de la dialectique (Adventures of the Dialectic) Merleau-Ponty characterizes Sartre’s position as “ultra-bolshevism.” Eventually, Merleau-Ponty would relinquish Marxist tenets. Merleau-Ponty’s first book, La structure du comportement (The Structure of Behavior), from 1942, is largely a critique of behavioral psychology as lacking a-propos, his stated goal, understanding the relation between nature and consciousness. His second and major completed book is La phénoménologie de la perception (Phenomenology of Perception). In this work Merleau-Ponty undermines classical theories of perception, which rely on “sense data”; introduces his understanding of the “lived body”; accentuates Husserl’s remark that consciousness is initially a matter of an “I can,” not an “I think”; and introduces a gestural analysis of language. While affirming Eugen Fink’s observation that there is no total “reduction” phenomenologically, Merleau-Ponty proceeds under the “epochē,” nonetheless. When he died, Merleau-Ponty was writing what would have been a book of major proportions. The material that he completed was posthumously published as Le visible et l’invisible (The Visible and the Invisible), a title from working notes that were published with it. Critical discussions of reflective philosophy, dialectic, and intuition precede a decidedly ontological project involving: “la chair” (the “flesh”), successor to Phenomenology of Perception’s “lived body,” through which “I live the world”; “reversibility,” the perceptual dynamic operative in our habitation of the world; and “the chiasm” or “intertwining” of different contexts, such as vision and motility. L’oeil et l’esprit (Eye and Mind), intended for inclusion in The Visible and the Invisible but published separately, addresses exploration of these factors in painting.

The clinical use of digital resources in drama therapy: An exploratory study of well-established practitioners

2020 ◽  
Vol 6 (1) ◽  
pp. 7-26 ◽  
Author(s):  
Amir Atsmon ◽  
Susana Pendzik
Keyword(s):  
Exploratory Study ◽  
Drama Therapy ◽  
Clinical Use ◽  
Digital Resources ◽  
Therapeutic Goals ◽  
The Gaze ◽  
The World ◽  
Ethical Significance

This exploratory study examines the clinical use of digital resources in contemporary drama therapy by interviewing seven leading practitioners from around the world. The study surveys the digital resources utilized by both therapists and clients; how these resources are used; and how such use relates to drama therapeutic goals, values and techniques. Most notably, interviewees mentioned using Skype for therapy and/or supervision; the use of smartphones to cross the boundaries of the session (introduce or send out material); and the gaze of the camera as a fantasized audience. Interviewees commented on the therapeutic, dramatic, relational and ethical significance and impact of these practices, as well as on the ongoing digitization of society at large and its effects on their practice. The article further delineates the challenges evident in their experiences and proposes theoretical directions for further exploration.

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