Steven Jacobs
- Published in print:
- 2011
- Published Online:
- September 2012
- ISBN:
- 9780748640171
- eISBN:
- 9780748670901
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640171.003.0001
- Subject:
- Film, Television and Radio, Film
Referring to contemporaneous writings by Kracauer, Bazin and Malraux among others, the first chapter discusses the ‘Golden Age’ of the art documentary in the late 1940s and early 1950s. Supported by ...
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Referring to contemporaneous writings by Kracauer, Bazin and Malraux among others, the first chapter discusses the ‘Golden Age’ of the art documentary in the late 1940s and early 1950s. Supported by international institutions such as UNESCO and FIAF, a film d'art movement developed, which offered experimental filmmakers a platform to reflect on the relations between art and cinema. Focusing on films made by Emmer in Italy, Storck and Haesaerts in Belgium and Resnais in France, this chapter demonstrates how these filmmakers saw the genre of the art documentary as a means to investigate the boundaries of film by juxtaposing movement versus stasis, narrative versus iconic images, and cinematic space versus pictorial surface.Less
Referring to contemporaneous writings by Kracauer, Bazin and Malraux among others, the first chapter discusses the ‘Golden Age’ of the art documentary in the late 1940s and early 1950s. Supported by international institutions such as UNESCO and FIAF, a film d'art movement developed, which offered experimental filmmakers a platform to reflect on the relations between art and cinema. Focusing on films made by Emmer in Italy, Storck and Haesaerts in Belgium and Resnais in France, this chapter demonstrates how these filmmakers saw the genre of the art documentary as a means to investigate the boundaries of film by juxtaposing movement versus stasis, narrative versus iconic images, and cinematic space versus pictorial surface.
Alex Ling
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748641130
- eISBN:
- 9780748652631
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641130.003.0006
- Subject:
- Philosophy, General
This chapter examines the artistic cinema of Alain Resnais, focusing on Hiroshima mon amour and Last Year in Marienbad, and proposes something of a novel approach for the analysis of the questions of ...
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This chapter examines the artistic cinema of Alain Resnais, focusing on Hiroshima mon amour and Last Year in Marienbad, and proposes something of a novel approach for the analysis of the questions of time and love as they are thought in the cinema of Resnais. It shows that Resnais's cinema is at one and the same time an ethical cinema, one which presents the ideas of love and of time, and a cinema that effectively rethinks the concept of the event.Less
This chapter examines the artistic cinema of Alain Resnais, focusing on Hiroshima mon amour and Last Year in Marienbad, and proposes something of a novel approach for the analysis of the questions of time and love as they are thought in the cinema of Resnais. It shows that Resnais's cinema is at one and the same time an ethical cinema, one which presents the ideas of love and of time, and a cinema that effectively rethinks the concept of the event.
Hunter Vaughan
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231161336
- eISBN:
- 9780231530828
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231161336.001.0001
- Subject:
- Film, Television and Radio, Film
This text interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles ...
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This text interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, the text applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967); and Resnais's Hiroshima mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, the book pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.Less
This text interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, the text applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967); and Resnais's Hiroshima mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, the book pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.
James Tweedie
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199858286
- eISBN:
- 9780199367665
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199858286.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter is organized around a specific scene and action performed repeatedly in French new wave cinema: characters walking through the city. These emblematic rambles through urban space often ...
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This chapter is organized around a specific scene and action performed repeatedly in French new wave cinema: characters walking through the city. These emblematic rambles through urban space often unfold without apparent aim or direction, as getting somewhere becomes a secondary consideration and the film concentrates instead on the urban context and the act of walking itself. The films focus on the youthful body in a city undergoing its own process of demolition and renewal, and these scenes stage that interaction between people and the urban environment. Individual cases studies include Louis Malle’s Elevator to the Gallows, Jean-Luc Godard’s Breathless, the documentary and fiction filmmaking of Alain Resnais, and Agnès Varda’s Cléo from 5 to 7 Less
This chapter is organized around a specific scene and action performed repeatedly in French new wave cinema: characters walking through the city. These emblematic rambles through urban space often unfold without apparent aim or direction, as getting somewhere becomes a secondary consideration and the film concentrates instead on the urban context and the act of walking itself. The films focus on the youthful body in a city undergoing its own process of demolition and renewal, and these scenes stage that interaction between people and the urban environment. Individual cases studies include Louis Malle’s Elevator to the Gallows, Jean-Luc Godard’s Breathless, the documentary and fiction filmmaking of Alain Resnais, and Agnès Varda’s Cléo from 5 to 7
Hunter Vaughan
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231161336
- eISBN:
- 9780231530828
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231161336.003.0001
- Subject:
- Film, Television and Radio, Film
This introductory chapter outlines the notion of “film-philosophy”, the belief that the visual medium can challenge modes of thought using Maurice Merleau-Ponty's phenomenology of perception and ...
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This introductory chapter outlines the notion of “film-philosophy”, the belief that the visual medium can challenge modes of thought using Maurice Merleau-Ponty's phenomenology of perception and Gilles Deleuze's image-philosophy. It tackles the question of how is the medium of film philosophical by examining the works of filmmakers Jean-Luc Godard and Alain Resnais, which transform and shift the medium's sensory focus between the auditory and visual. This attribute of “flexible malleability” can be reduced to shifting dynamics in subject-object relations. The chapter argues that film can be seen as the site of intersection of both diegetic and extradiegetic “voices” and “gazes” and distributes them according to sets of formal relations. This intersection is referred to as the immanent field of the film image.Less
This introductory chapter outlines the notion of “film-philosophy”, the belief that the visual medium can challenge modes of thought using Maurice Merleau-Ponty's phenomenology of perception and Gilles Deleuze's image-philosophy. It tackles the question of how is the medium of film philosophical by examining the works of filmmakers Jean-Luc Godard and Alain Resnais, which transform and shift the medium's sensory focus between the auditory and visual. This attribute of “flexible malleability” can be reduced to shifting dynamics in subject-object relations. The chapter argues that film can be seen as the site of intersection of both diegetic and extradiegetic “voices” and “gazes” and distributes them according to sets of formal relations. This intersection is referred to as the immanent field of the film image.
András Bálint Kovács
- Published in print:
- 2008
- Published Online:
- February 2013
- ISBN:
- 9780226451633
- eISBN:
- 9780226451664
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226451664.003.0007
- Subject:
- Literature, Film, Media, and Cultural Studies
Referring to Alain Resnais's film Hiroshima, Eric Rohmer provided a particularly concise and general formula about how he understood modernism in the cinema. Rohmer's formula is a particularly ...
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Referring to Alain Resnais's film Hiroshima, Eric Rohmer provided a particularly concise and general formula about how he understood modernism in the cinema. Rohmer's formula is a particularly accurate summary of all the important basic principles of the form of modern film: modernist art has a fragmented view of reality; the modern artist uses general and abstract principles of composition to reconstruct the coherence of reality; the foundation of this reconstruction is always in its composition an abstract idea; the ultimate source of the form of modern art is its own abstract principles rather than empirical reality. This chapter describes the main tendencies of modern cinema using some general traits related to modernist principles of formal composition. The first distinction is made between styles based on radically continuous constructions and those based on radically fragmented ones. The chapter discusses continuity and discontinuity in a film, imaginary time in Resnais's Last Year at Marienbad, the fragmented form according to Jean-Luc Godard, and the link between serialism and the structural composition of the film.Less
Referring to Alain Resnais's film Hiroshima, Eric Rohmer provided a particularly concise and general formula about how he understood modernism in the cinema. Rohmer's formula is a particularly accurate summary of all the important basic principles of the form of modern film: modernist art has a fragmented view of reality; the modern artist uses general and abstract principles of composition to reconstruct the coherence of reality; the foundation of this reconstruction is always in its composition an abstract idea; the ultimate source of the form of modern art is its own abstract principles rather than empirical reality. This chapter describes the main tendencies of modern cinema using some general traits related to modernist principles of formal composition. The first distinction is made between styles based on radically continuous constructions and those based on radically fragmented ones. The chapter discusses continuity and discontinuity in a film, imaginary time in Resnais's Last Year at Marienbad, the fragmented form according to Jean-Luc Godard, and the link between serialism and the structural composition of the film.
John Orr
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748640140
- eISBN:
- 9780748671090
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640140.003.0007
- Subject:
- Film, Television and Radio, Film
The 1960s was the start of a new cinema in Britain, a neo-modern remake of 1920s modernism for the sound era: 1963 with the release of The Servant was as momentous as 1929, and the expatriate eye was ...
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The 1960s was the start of a new cinema in Britain, a neo-modern remake of 1920s modernism for the sound era: 1963 with the release of The Servant was as momentous as 1929, and the expatriate eye was an integral part of modernism's second wave, the aesthetic dominant in the rise of the British neo-modern an aesthetic which can be called the aesthetics of the parallax view. In general, the writing is native, and the fusion of expatriate eye and insider's text counts for so much — John and Penelope Mortimer with Otto Ludwig Preminger, Harold Pinter with Joseph Losey, Edward Bond and Mark Peploe with Michelangelo Antonioni, Anthony Burgess freely providing his brilliant novel for Stanley Kubrick, Martin Ritt and Sidney Lumet with Paul Dehn adapting John Le Carré. This chapter examines Joseph Losey's films The Servant and Accident; Michelangelo Antonioni's Blow-Up, The Passenger, and Profession: Reporter; Alain Resnais's Providence; and Chris Petit's Radio On.Less
The 1960s was the start of a new cinema in Britain, a neo-modern remake of 1920s modernism for the sound era: 1963 with the release of The Servant was as momentous as 1929, and the expatriate eye was an integral part of modernism's second wave, the aesthetic dominant in the rise of the British neo-modern an aesthetic which can be called the aesthetics of the parallax view. In general, the writing is native, and the fusion of expatriate eye and insider's text counts for so much — John and Penelope Mortimer with Otto Ludwig Preminger, Harold Pinter with Joseph Losey, Edward Bond and Mark Peploe with Michelangelo Antonioni, Anthony Burgess freely providing his brilliant novel for Stanley Kubrick, Martin Ritt and Sidney Lumet with Paul Dehn adapting John Le Carré. This chapter examines Joseph Losey's films The Servant and Accident; Michelangelo Antonioni's Blow-Up, The Passenger, and Profession: Reporter; Alain Resnais's Providence; and Chris Petit's Radio On.
Nadine Boljkovac
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748646449
- eISBN:
- 9780748689248
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748646449.003.0003
- Subject:
- Philosophy, General
‘Figures of Life’ examines time and death via Deleuze and Guattari’s concepts of power, freedom, figure, sensation and counter-actualisation or productive re-enactment. Through an ostensibly shocking ...
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‘Figures of Life’ examines time and death via Deleuze and Guattari’s concepts of power, freedom, figure, sensation and counter-actualisation or productive re-enactment. Through an ostensibly shocking contention, this chapter contends that Alain Resnais’s Nuit et Brouillard creates and even affirms life and movement through series of audio-visual images that testify not only to the Event of the Holocaust but also to the virtual remains, the lingering affects and events of fear, sadness and hope that pervade each image, archive, stone and artefact. Deleuze’s concept of counter-actualisation is explained and conceived as a redoubling of a past actual wound for a ‘revolutionary becoming’, man’s only hope of response, as claims Deleuze, to human shame in the face of the intolerable. This chapter is the most demanding of the book with respect to an affirmative ethics and philosophy of life as it most directly confronts the interstice between personal and impersonal life and death through the Holocaust Event and its challenge to art, thought and survival.Less
‘Figures of Life’ examines time and death via Deleuze and Guattari’s concepts of power, freedom, figure, sensation and counter-actualisation or productive re-enactment. Through an ostensibly shocking contention, this chapter contends that Alain Resnais’s Nuit et Brouillard creates and even affirms life and movement through series of audio-visual images that testify not only to the Event of the Holocaust but also to the virtual remains, the lingering affects and events of fear, sadness and hope that pervade each image, archive, stone and artefact. Deleuze’s concept of counter-actualisation is explained and conceived as a redoubling of a past actual wound for a ‘revolutionary becoming’, man’s only hope of response, as claims Deleuze, to human shame in the face of the intolerable. This chapter is the most demanding of the book with respect to an affirmative ethics and philosophy of life as it most directly confronts the interstice between personal and impersonal life and death through the Holocaust Event and its challenge to art, thought and survival.
Linnell Secomb
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748623679
- eISBN:
- 9780748671854
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623679.003.0005
- Subject:
- Philosophy, Political Philosophy
This chapter explores Emmanuel Levinas' ethics of love along with a reading of Marguerite Duras' Hiroshima, mon amour. Hiroshima, mon amour affixes Levinas' ethics. Levinas recognizes the ...
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This chapter explores Emmanuel Levinas' ethics of love along with a reading of Marguerite Duras' Hiroshima, mon amour. Hiroshima, mon amour affixes Levinas' ethics. Levinas recognizes the significance of erotic love for the subject and ultimately for inter-human relations. His description of erotic love indicates an interlacing of egoistic pleasure and selfless engagement with the other in the sexual relation. In Alain Resnais' and Duras' film, Hiroshima, mon amour, it is the experience of passionate, obsessional, devoted love for a particular other that grounds and informs the selfless ethical love of every other. It has become clear that the feminine other of the erotic relation (in Time and the Other) offers a model or a prototype for the alterity of the other of the ethical relation (in Totality and Infinity).Less
This chapter explores Emmanuel Levinas' ethics of love along with a reading of Marguerite Duras' Hiroshima, mon amour. Hiroshima, mon amour affixes Levinas' ethics. Levinas recognizes the significance of erotic love for the subject and ultimately for inter-human relations. His description of erotic love indicates an interlacing of egoistic pleasure and selfless engagement with the other in the sexual relation. In Alain Resnais' and Duras' film, Hiroshima, mon amour, it is the experience of passionate, obsessional, devoted love for a particular other that grounds and informs the selfless ethical love of every other. It has become clear that the feminine other of the erotic relation (in Time and the Other) offers a model or a prototype for the alterity of the other of the ethical relation (in Totality and Infinity).
Nadine Boljkovac
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748646449
- eISBN:
- 9780748689248
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748646449.003.0004
- Subject:
- Philosophy, General
‘From Depths and Ashes’ focuses upon ‘virtual series’ that exist in relation to the actual and that are revealed through a woman and man, a coupling that invokes the doubling of virtual-actual time, ...
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‘From Depths and Ashes’ focuses upon ‘virtual series’ that exist in relation to the actual and that are revealed through a woman and man, a coupling that invokes the doubling of virtual-actual time, life and death. Through an exploration of affirmative life forces and intensities in relation to events shameful and intolerable, this chapter maintains that film can expose a confrontation with identity, time and death. By way of a becoming-imperceptible or apersonal becoming through a shattering of transcendent illusions, a transformation that realises a woman’s counter-actualisation or creative replaying of her wounds, the chapter argues through Deleuze’s examinations of depth and surface that Resnais’s Hiroshima mon amour releases intensities which are expressed through the film’s own ‘depths’ of bodies and ‘singular surfaces’ of skins. This chapter continues to explore relations between actual, tangible individuals as it also examines the violent and destructive mixtures of bodies that effect the sensations and affects that comprise and potentially fracture a human ‘self’. Finally, the chapter contends that Resnais’s art reveals means for moving beyond personal dimensions towards an impersonal, ‘pure’ evocation of affect and association.Less
‘From Depths and Ashes’ focuses upon ‘virtual series’ that exist in relation to the actual and that are revealed through a woman and man, a coupling that invokes the doubling of virtual-actual time, life and death. Through an exploration of affirmative life forces and intensities in relation to events shameful and intolerable, this chapter maintains that film can expose a confrontation with identity, time and death. By way of a becoming-imperceptible or apersonal becoming through a shattering of transcendent illusions, a transformation that realises a woman’s counter-actualisation or creative replaying of her wounds, the chapter argues through Deleuze’s examinations of depth and surface that Resnais’s Hiroshima mon amour releases intensities which are expressed through the film’s own ‘depths’ of bodies and ‘singular surfaces’ of skins. This chapter continues to explore relations between actual, tangible individuals as it also examines the violent and destructive mixtures of bodies that effect the sensations and affects that comprise and potentially fracture a human ‘self’. Finally, the chapter contends that Resnais’s art reveals means for moving beyond personal dimensions towards an impersonal, ‘pure’ evocation of affect and association.
Nadine Boljkovac
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748646449
- eISBN:
- 9780748689248
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748646449.003.0007
- Subject:
- Philosophy, General
‘Of Scars, Smiles and Past-Future Signs’ argues that death itself can be conceived via Deleuze’s philosophy as both ‘our’ fatal end and a new ‘singular’ life. To do so, this chapter analyses how ...
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‘Of Scars, Smiles and Past-Future Signs’ argues that death itself can be conceived via Deleuze’s philosophy as both ‘our’ fatal end and a new ‘singular’ life. To do so, this chapter analyses how select works of French filmmakers Alain Resnais and Chris Marker embody becomings and processes of counter-actualisation and dramatization through signs, faciality, repetition, temporal synthesis, depth and surface. The chapter returns, as do intertextual sequences within Marker’s Chats Perchés, to Resnais’s Hiroshima mon amour and more broadly to the notion of virtual-actual violence and death itself.Less
‘Of Scars, Smiles and Past-Future Signs’ argues that death itself can be conceived via Deleuze’s philosophy as both ‘our’ fatal end and a new ‘singular’ life. To do so, this chapter analyses how select works of French filmmakers Alain Resnais and Chris Marker embody becomings and processes of counter-actualisation and dramatization through signs, faciality, repetition, temporal synthesis, depth and surface. The chapter returns, as do intertextual sequences within Marker’s Chats Perchés, to Resnais’s Hiroshima mon amour and more broadly to the notion of virtual-actual violence and death itself.
David Martin-Jones
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748622443
- eISBN:
- 9780748651085
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748622443.003.0008
- Subject:
- Film, Television and Radio, Film
The films discussed in this book are contemporary manifestations of a tradition that can be traced back to directors such as Alfred Hitchcock, Federico Fellini and Jean-Luc Godard – those same ...
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The films discussed in this book are contemporary manifestations of a tradition that can be traced back to directors such as Alfred Hitchcock, Federico Fellini and Jean-Luc Godard – those same directors that Gilles Deleuze drew on in constructing his taxonomy of images. The appearance of a labyrinthine model of time in many of these films is particularly indebted to Alain Resnais' oeuvre, which includes such films as Providence (1977) and Smoking/No Smoking (1993). Moreover, Run Lola Run and Peppermint Candy both self-consciously acknowledge their debt to Krzystof Kieslowski's Blind Chance (1981). This book has shown, through a specific focus on particular nations, the historical shifts and resulting transformations of national identity that these films negotiate. It is no longer enough to simply posit the time-image as the European other of the American movement-image. Rather, a global picture must be considered in which these films engage with issues of national identity for both local and international markets. As a final example that illustrates the need for this localised analysis, this chapter discusses Blind Chance.Less
The films discussed in this book are contemporary manifestations of a tradition that can be traced back to directors such as Alfred Hitchcock, Federico Fellini and Jean-Luc Godard – those same directors that Gilles Deleuze drew on in constructing his taxonomy of images. The appearance of a labyrinthine model of time in many of these films is particularly indebted to Alain Resnais' oeuvre, which includes such films as Providence (1977) and Smoking/No Smoking (1993). Moreover, Run Lola Run and Peppermint Candy both self-consciously acknowledge their debt to Krzystof Kieslowski's Blind Chance (1981). This book has shown, through a specific focus on particular nations, the historical shifts and resulting transformations of national identity that these films negotiate. It is no longer enough to simply posit the time-image as the European other of the American movement-image. Rather, a global picture must be considered in which these films engage with issues of national identity for both local and international markets. As a final example that illustrates the need for this localised analysis, this chapter discusses Blind Chance.
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780719078842
- eISBN:
- 9781781701706
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719078842.003.0014
- Subject:
- Film, Television and Radio, Film
This chapter presents the responses of Georg Lukács to Yvette Biró's questions on his thoughts about Diecimila soli', a film by Ferenc Kósa (1967), and La Guerra è finita [The War Is Over (1966)], by ...
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This chapter presents the responses of Georg Lukács to Yvette Biró's questions on his thoughts about Diecimila soli', a film by Ferenc Kósa (1967), and La Guerra è finita [The War Is Over (1966)], by Alain Resnais and Jorge Semprun.Less
This chapter presents the responses of Georg Lukács to Yvette Biró's questions on his thoughts about Diecimila soli', a film by Ferenc Kósa (1967), and La Guerra è finita [The War Is Over (1966)], by Alain Resnais and Jorge Semprun.
Nadine Boljkovac
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748646449
- eISBN:
- 9780748689248
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748646449.001.0001
- Subject:
- Philosophy, General
Untimely Affects offers an interweaving of Deleuzian philosophy and close film analysis to discern the potential of art in the face of global ongoing devastations. How does thought persist ...
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Untimely Affects offers an interweaving of Deleuzian philosophy and close film analysis to discern the potential of art in the face of global ongoing devastations. How does thought persist productively after World War II? How can cinema function as a means of ethical resistance and thought? In this first extensive analysis of French film artists Chris Marker and Alain Resnais's works together, Untimely Affects draws on concepts and images that expose these layers of a recent past in relation to ‘a time yet to come’. Mindful of the seen and unseen ‘that quicken the heart’ (Marker), this book discerns life-affirming possibilities. As such, Untimely Affects speaks to productive limits and potentials of cinema, thought, self and life through creative untimeliness (Nietzsche) and the idea of the ‘ever new’. Film and video works are thereby conceived as machines, or interacting past-future, virtual-actual images, ‘bodies’ and audio-visual relations that do not replicate, reproduce or represent as they produce something new.Less
Untimely Affects offers an interweaving of Deleuzian philosophy and close film analysis to discern the potential of art in the face of global ongoing devastations. How does thought persist productively after World War II? How can cinema function as a means of ethical resistance and thought? In this first extensive analysis of French film artists Chris Marker and Alain Resnais's works together, Untimely Affects draws on concepts and images that expose these layers of a recent past in relation to ‘a time yet to come’. Mindful of the seen and unseen ‘that quicken the heart’ (Marker), this book discerns life-affirming possibilities. As such, Untimely Affects speaks to productive limits and potentials of cinema, thought, self and life through creative untimeliness (Nietzsche) and the idea of the ‘ever new’. Film and video works are thereby conceived as machines, or interacting past-future, virtual-actual images, ‘bodies’ and audio-visual relations that do not replicate, reproduce or represent as they produce something new.
Nadine Boljkovac
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748646449
- eISBN:
- 9780748689248
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748646449.003.0002
- Subject:
- Philosophy, General
‘Art’s resistance’ argues that Deleuze and Guattari’s ethical and affirmative method of schizoanalysis can counter death with life and art as it discovers possibilities for survival and creation ...
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‘Art’s resistance’ argues that Deleuze and Guattari’s ethical and affirmative method of schizoanalysis can counter death with life and art as it discovers possibilities for survival and creation beyond theories of victimization. Deleuze insists that thought and art must do violence to reactive forces that beget violence through a power of ressentiment, what Deleuze and Guattari describe as ‘double suicide’ and ‘a way out that turns the line of flight into a line of death’, a line of pure destruction and abolition. The concept of the untimely, or that which is ever-new, is introduced as an experiential, sensory force through Nietzsche. This chapter further explains this force as an ‘eternal repetition of the different’ that recreates and re-experiences the past while simultaneously transforming the future to suggest a doubling of ‘virtual-actual’ worlds.Less
‘Art’s resistance’ argues that Deleuze and Guattari’s ethical and affirmative method of schizoanalysis can counter death with life and art as it discovers possibilities for survival and creation beyond theories of victimization. Deleuze insists that thought and art must do violence to reactive forces that beget violence through a power of ressentiment, what Deleuze and Guattari describe as ‘double suicide’ and ‘a way out that turns the line of flight into a line of death’, a line of pure destruction and abolition. The concept of the untimely, or that which is ever-new, is introduced as an experiential, sensory force through Nietzsche. This chapter further explains this force as an ‘eternal repetition of the different’ that recreates and re-experiences the past while simultaneously transforming the future to suggest a doubling of ‘virtual-actual’ worlds.
