Éric Marty
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780197266670
- eISBN:
- 9780191905391
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266670.003.0006
- Subject:
- Literature, Film, Media, and Cultural Studies
With Roland Barthes par Roland Barthes (1975), Barthes broke with a taboo on the image shared by most Modern thinkers: a Marxist and structuralist puritanism closely associated with a violent ...
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With Roland Barthes par Roland Barthes (1975), Barthes broke with a taboo on the image shared by most Modern thinkers: a Marxist and structuralist puritanism closely associated with a violent critique of mimesis. The break Barthes introduced derived primarily from his uncoupling of mimesis from the regime of visibility particular to the image. The importance of Barthes’s little book will be explored by placing it in the context of Modernity. On the one hand, it will be read in relation to readings of the image associated with Barthes’s contemporaries (for example, Foucault on Velazquez’s Las Meninas); on the other, it will be read alongside his earlier and later proclamations relative to the image, from Mythologies to La Chambre claire. A shift will be traced from the rejection of mimesis in favour of non-figuration, to the emergence of a more fundamental visual paradigm for Barthes of animate/inanimate, initially accounting for his stated preference for photography over cinema, but ultimately neutralised, in the second part of La Chambre claire, through his discussion of the female automaton sequence in Fellini’s Casanova, and its fetishistic relation to the invisible/visible presence of the Winter Garden photo of Barthes’s mother as a child.Less
With Roland Barthes par Roland Barthes (1975), Barthes broke with a taboo on the image shared by most Modern thinkers: a Marxist and structuralist puritanism closely associated with a violent critique of mimesis. The break Barthes introduced derived primarily from his uncoupling of mimesis from the regime of visibility particular to the image. The importance of Barthes’s little book will be explored by placing it in the context of Modernity. On the one hand, it will be read in relation to readings of the image associated with Barthes’s contemporaries (for example, Foucault on Velazquez’s Las Meninas); on the other, it will be read alongside his earlier and later proclamations relative to the image, from Mythologies to La Chambre claire. A shift will be traced from the rejection of mimesis in favour of non-figuration, to the emergence of a more fundamental visual paradigm for Barthes of animate/inanimate, initially accounting for his stated preference for photography over cinema, but ultimately neutralised, in the second part of La Chambre claire, through his discussion of the female automaton sequence in Fellini’s Casanova, and its fetishistic relation to the invisible/visible presence of the Winter Garden photo of Barthes’s mother as a child.
Ágnes Petho (ed.)
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474435499
- eISBN:
- 9781474481076
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474435499.001.0001
- Subject:
- Film, Television and Radio, Film
This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern Bloc. As an aesthetic based on a ...
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This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern Bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina, and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. Through different theoretical approaches and thematic focuses, the book attempts to contribute to the understanding of intermedial phenomena in contemporary cinema as a whole by mapping meaningful areas of in-betweenness including the intermedial and interart relations in-between cinema, music, theatre, photography, painting, sculpture, literature, language and the new, digital technologies of the moving image.Less
This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern Bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina, and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. Through different theoretical approaches and thematic focuses, the book attempts to contribute to the understanding of intermedial phenomena in contemporary cinema as a whole by mapping meaningful areas of in-betweenness including the intermedial and interart relations in-between cinema, music, theatre, photography, painting, sculpture, literature, language and the new, digital technologies of the moving image.
