In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age (...) of technological change: not only are nearly all films now not made using the traditional equipment of filmmaking (analogue cameras, linear editing systems, polyester film stock), but nor do they get exhibited in traditional theatrical venues (instead circulating on DVD and related formats, and online). On a related note, increasing numbers of filmmakers actively are moving away from feature filmmaking, e.g. into television. The essay focuses in particular on ‘non-cinematic’ works by Philippine director Khavn de la Cruz and American director Giuseppe Andrews. Formally, I argue that their films deliberately embrace that which is perceived as non-cinematic in order to put forward what Argentine philosopher Enrique Dussel might define as a ‘barbarian’ film-philosophical vision of the world, which is reminiscent of Antonio Negri's concept of multitude, and which also has an ethical dimension in that it proposes the inclusion of the overlooked and the dispossessed, and of the darkness that necessarily accompanies the light. (shrink)

Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an ‘uncinematic’ element in the negation of movement in modern cinema, ‘which constitutes its artistic character’. Similarly, Lyotard defended an ‘acinema’, which rather than selecting and excluding movements through editing, accepts what is ‘fortuitous, dirty, confused, unclear, poorly framed, overexposed’. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an ‘impure circulation’ that incorporates the other arts. (...) Resonating with Bazin and his defence of ‘impure cinema’, that is, of cinema's interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film, whose anti-cinema stance in announced in its own title; and The Mirror, another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchi's deconstruction of cinematic acting in his exploration of the geidomono genre in The Story of the Last Chrysanthemums, and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing. (shrink)

The 2015 film Lost and Beautiful, directed by Pietro Marcello, en­deavors in aesthetically compelling ways to decenter the human in the frame and engage viewers in what Gilles Deleuze and Felix Guattari term becoming animals. Part documentary film, part fairytale, this film tells the story in the nonhuman first person, of the life and journey of a water buffalo calf in the south of Italy and his relationship with the shepherd who saved him from pre­mature death, and later, with Pulcinella, (...) a mythological figure from Neapol­itan folklore, who accompanies him in a journey north. Adopting ecocritical and posthuman perspective and providing elements of environmental cultural history, this article analyses the aesthetic and narrative strategies the film em­ploys to grant subjectivity to a nonhuman protagonist and, in turn, address the viewers. Advocating for the conservation of human artifacts while also posing the question of animal rights and agency, Lost and Beautiful powerfully gestures toward a non-anthropocentric cinema. (shrink)

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiouʹs account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the (...) movement of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people -- a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras. -- Publisher description. (shrink)

Qu'on le veuille ou non, depuis qu'il est sorti de la clandestinite, le cinema porno est devenu l'un des grands genres cinematographiques du divertissement populaire, a cote du thriller, du film d'horreur, de la comedie sentimentale etc. Il est tout a fait insuffisant de definir un genre par les reactions qu'il est cense susciter chez les spectateurs (en l'occurrence l'excitation sexuelle). De meme, il est insuffisant de le definir par son iconographie i.e. les differentes performances sexuelles et la maniere (...) dont elles sont filmees. Il est tout simplement faux d'affirmer que les films pornographiques se ressemblent tous et ne racontent rien. Qu'est-ce que nous racontent donc les films pornos? (shrink)

Cet article éclaire la cohérence singulière et complexe de l’esthétique d’Étienne Souriau en montrant le rôle fondamental qu’y jouent les notions de contour, d’ornement et d’arabesque. Il analyse d’abord sa valorisation des esthétiques industrielle et animale dès lors qu’elles dépassent le fonctionnalisme en s’ouvrant à la dimension non représentative de l’ornement. L’analyse de l’esthétique animale permet à Souriau de valoriser l’esthéticité pure du mouvement associé à des jeux non figuratifs. La catégorie interartiale de l’arabesque sous-tend la valorisation par Souriau de (...) formes primaires non représentatives, y compris dans les arts représentatifs, en particulier au cinéma où c’est leur puissance d’envoûtement qui prête vie aux personnages et au monde représentés. (shrink)

Enacting the World of Cinema offers a substantial reconfiguration of the textual roots of modern film narratology. By giving sustained attention to cinema's material-affective modes of communicating its stories and embedding its audience in atmospheric, kinetic, and multisensorial worlds, this book maintains that film narratives are less representations than they are enactments; brought forth through the interactions of the felt body and the film material. The book defends this enactive and media-anthropological thesis by reworking a series of established (...) film narratological key concepts including the diegesis, mood/atmosphere, and the distinction between diegetic and non-diegetic sound. In the process, this book draws on a wide range of contemporary theoretical resources such as affective neuroscience, media-philosophy, philosophy of mind, atmosphere research, multisensory perception theory, as well as a broad selection of films including Berlin: Symphony of a Great City (Ruttman, 1927), The Cranes are Flying (Kalatozov, 1957), and Happy as Lazzaro (Rohrwacher, 2018)"--Dust jacket flap. (shrink)

After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projector) lacking in (...) human qualities. This article argues that the newly configured body–machine relationship provided by cinema became a marginalized feature of cinematic culture, an ex-centric cinema relegated to the sub-fields of science and educational film. In the mid-20th century the project surfaces spectacularly in the work of pioneering designers Charles and Ray Eames, most poignantly in their film Powers of Ten (first made in 1968, remade in 1977), a journey into the cosmos and back again into the body of a man. Bringing together discourses of space travel, cartography, physics and cinema, the film moves us towards an understanding of visual culture as an apparatus of calculated possibilities, where visualization replaces representation. If we take the Powers of Ten as a non-representational film, an ex-centric cinematic practice, we uncover non-linear and non-representational ways of apprehending the relationship between bodies and matter. This literal line of flight is one path that cinema may have taken. Its presence, however, is detectable outside of the cinema, in the software programs of electronic cartography copyrighted as Google Earth. The human body is not made virtual by its engagement with calculated visualization but is in turn part of the field of enquiry, equally porous, and definable in various scales and in different dimensions. (shrink)

Resumo Neste ensaio procuro analisar o movimento reversível que há entre cinema e filosofia no pensamento de Gilles Deleuze. A filosofia do cinema é um dos temas deleuzianos por excelência e Cinema 1 e Cinema 2, dois dos seus livros mais estudados. Porém, que papel teve o cinema no seu pensamento filosófico? Com o objectivo de analisar os diferentes tipos de interferências que ocorrem entre o campo estritamente filosófico e o campo não-filosófico, pretendo demonstrar de (...) que modo o cinema não foi apenas considerado como uma arte que ilustrava ideias filosóficas já elaboradas, mas como uma arte que contribuiu para a própria criação conceptual. Palavras-chave : filosofia do cinema, Gilles Deleuze, metafilosofia, noologiaMy aim with the present essay is to analyse the reversible movement that occurs in Gilles Deleuze’s thought between cinema and philosophy. Philosophy of cinema is one of the most stimulating aspects of the deleuzian thought and Cinema 1 and Cinema 2 two of his most studied books. However, which role had cinema in his philosophical thought? With the final objective of analysing the different kinds of interferences that occur between the specific philosophical field and the non-philosophical field, I want to clarify how cinema was not seen as a mere artistic illustration of some pre-existing ideas but as a philosophical contribution. Keywords : Gilles Deleuze, metaphilosophy, noology, philosophy of cinema. (shrink)

This article analyses several notable examples of what the author calls the post-Yugoslav women’s cinema of trauma. These films made by women filmmakers challenge the standard tropes of war, as well as normative approaches to war cinema, by highlighting the intimate affective domain of experience, rather than large-scale narratives and collective emotions. The author focuses on the near-silent short and experimental works of Una Gunjak and Šejla Kamerić, and suggests that they offer insightful formal and narrative ways of (...) rethinking the question of what makes a war film, as well as what constitutes a woman’s experience of war. By arguing for a continued, strategic and locally specific use of the term women’s cinema, the author deploys feminist analytics towards inscribing these filmmakers’ work into the transnational flows of knowledge production about marginalized groups and non-Western geographies. (shrink)

Maldiney est né en 1912, année où le cinéma est quant à lui devenu un art, pour la première fois de type industriel. Ce philosophe en a donc été, toute sa vie durant, le contemporain. Et pourtant il ne s’y est manifestement jamais intéressé. Or cela est d’autant plus intrigant que, si la peinture a certes toujours été pour lui l’art de référence, il a toutefois su se tourner vers de nombreux autres arts. Pourquoi, même s’il ne connaissait pas, comme (...) Stanley Cavell, les comédies hollywoodiennes, ne s’est-il pas non plus, contrairement à son collègue de Lyon, Gilles Deleuze, intéressé à ce que cet art rend possible? Est-ce là une affaire de goût, alors privée et naïvement subjective? Ou ce désintérêt manifeste peut-il nous dire quelque chose de ce qu’il a cherché dans l’art, et ainsi de ce qu’on peut nommer son style philosophique? (shrink)

The object of this study is the presence and the operation of space in the films of the Dardenne brothers. In this paper, we will examine three films - Rosetta , The Child and The Silence of Lorna - and present the argument that they depict an original account of the contemporary European city as a totality (in this case an eastern Belgian steel town). The construction of the characters, their relationships, and the moral implications of their actions are usually (...) the most discussed aspect of the Dardennes' cinema. Instead, we want to shift focus to the city, focusing on its concrete, visceral materiality. The aim of this paper is to chart out the leaden landscape of these films, by tracing the movements of the protagonists in two particular kinds of recurring spaces: the woods that lie next to motorways in Rosetta and The Silence of Lorna , and the motorways that feature prominently in The Child . Even though these spaces are the left-over spaces of the city, cut out and discarded from the inner spaces of the city, they are still heavily inscribed and symbolic sites. Not only do they move the plot forward and are expressive of the characters that inhabit them, they also engage in a sustained, though understated, political critique. (shrink)

Iranian national cinema is showing the scars of artistic persecution. The aesthetic landscape of this national cinema has become one of stark confines – both in its thematic allowances and its aesthetic possibilities. However, these confinements, both physical and technological, have not merely been passively affected by ideological constraints but have also been active in affecting ideological discourse, answering back as it does within imposed limitations. What we are seeing in contemporary Iranian cinema, I believe, is a (...) complex movement of aesthetic novelty, provoking some important questions regarding the relationship between politics and aesthetics. The relatively high-profile instance of which I am concerned here is Jafar Panahi’s This is Not a Film (2011): a work that denies its ontological category and, in turn, furthers its medial possibilities. Panahi’s confinement is an example of enforced asceticism: an asceticism of necessity, groundbreaking in its approach. So much potential arises from this “non-film” – too much to find any answers here. However, this Collision presents the perfect space for briefly outlining some of the questions emanating from a film that is “not a film”. I raise some striking similarities between what occurs with Panahi and the politico-aesthetic ideas of Jacques Rancière in order to contemplate Panahi’s use of asceticism to political effect. (shrink)

The subject of the study is the figurative and symbolic reflection and transformation of the dynamic reality of life in the cinematic space of modern culture. The purpose of the work is to identify and substantiate trends in the development of cinematographic cultural texts based on the figurative and symbolic representation of the phenomenon of success in the existential space of human existence. The scientific novelty of the work is represented by the evidence base of the study, which determines the (...) figurative correspondence of the philosophical and sociological representation of cinematic texts to the phenomenon of success as a value-symbolic aspect of personal activity. Based on the analysis of cinema screen products created at the turn of the XX-XXI centuries and devoted to the characterization of the image of a subject whose existential level of being is characterized in the symbols of success/ failure, several trends in the development of cinematic culture can be identified. Firstly, the characteristic of the "sunset" of the previously dominant ideological trend of symbolization of the actual phenomenology of success. Secondly, the stage of axiological instability and ambivalence in the evaluation of the symbols of success, unevenly implemented in the scenario and staging part. And, thirdly, the formation and consolidation of new cinematic paradigms through the constant convergence of private symbols of success, manifested in different ways both in reality and on the cinema screen, and accompanied by constant attempts at their non-contextual universalization. (shrink)

I suggest that the representation of cities in Indian cinema — the effects and affects of modernities as well as of ambiguous, multiplicitous sexualities — mark significant change in engagement with modernity ever since independence in 1947. The city in the Indian imaginary has occupied an ambivalent, confrontational as well as contemplative space that signifies ‘modernity’ and its concurrent promise as well as ills. Non-normative sexualities have always occupied a liminal space in socio-political configurations, a site both of empowerment (...) through transgression and containment through regulation. The urban space — newly freed up and as yet un-proscribed — assumes the metonymic equivalence of available sexual freedom (particularly for women), its powers and its dangers. The cinema as a text is especially well-suited to play with the dynamics of this fraught space: often, a film’s contexts and narratives identify the film text itself as a signifier of the liminal spaces that it proposes to explore, enacting both their limitations and their possibilities. (shrink)

La réception problématique des Cultural, Gender et Postcolonial Studies dans le champ des études cinématographiques en France s’est longtemps traduite par leur rejet. Depuis la fin des années 2000, sous la pression de l’évolution générationnelle mais aussi de la recherche internationale, on observe une prise en compte partielle des Studies. Toutefois, celle-ci s’accompagne d’une neutralisation de leur dimension critique et politique, à savoir leur remise en cause des fondements mêmes des épistémologies occidentales. Longtemps organisée autour d’histoires nationales et des critères (...) de l’histoire de l’art, l’histoire du cinéma n’échappe pas aux reconfigurations contemporaines de l’historiographie. Cependant, une autre histoire du cinéma français reste à construire. L’analyse comparée de la construction discursive du « cinéma beur » (années 1980), des « films de banlieue » et du « jeune cinéma français » (années 1990) permet de mettre en évidence le discours dominant d’un cinéma français défini par sa blanchité. La critique cinématographique des années 1990 joue ainsi un rôle d’opérateur de la blanchité qui contribue à invisibiliser les composantes non-blanches (ici maghrébines) dans la constitution de la francité. (shrink)

La réception problématique des Cultural, Gender et Postcolonial Studies dans le champ des études cinématographiques en France s’est longtemps traduite par leur rejet. Depuis la fin des années 2000, sous la pression de l’évolution générationnelle mais aussi de la recherche internationale, on observe une prise en compte partielle des Studies. Toutefois, celle-ci s’accompagne d’une neutralisation de leur dimension critique et politique, à savoir leur remise en cause des fondements mêmes des épistémologies occidentales. Longtemps organisée autour d’histoires nationales et des critères (...) de l’histoire de l’art, l’histoire du cinéma n’échappe pas aux reconfigurations contemporaines de l’historiographie. Cependant, une autre histoire du cinéma français reste à construire. L’analyse comparée de la construction discursive du « cinéma beur » (années 1980), des « films de banlieue » et du « jeune cinéma français » (années 1990) permet de mettre en évidence le discours dominant d’un cinéma français défini par sa blanchité. La critique cinématographique des années 1990 joue ainsi un rôle d’opérateur de la blanchité qui contribue à invisibiliser les composantes non-blanches (ici maghrébines) dans la constitution de la francité. (shrink)

This essay follows two lines - the one cinematic, the other philosophical - towards an intersection located in what we call 'the animal'. Be it the bleak picture of "bare life" drawn by Agamben, or the more positive image of the "animal that therefore I am" depicted by Derrida, philosophers of various hue have shown increasing interest in the idea of the animal as both a normative category (Derrida, Agamben) and a metaphysical one (as when Badiou depicts Deleuze's philosophy as (...) one of "the Animal" in contrast to his own of "Number"). One question that arises from this attention is whether or not these myriad philosophies mediate the animal for their own philosophical purpose as only one, background, instance of aporetic différance (Derrida), proliferated becoming (Deleuze), bare life (Agamben), or even the very model of "bad philosophy" (Badiou). Is every philosophy of the animal a type of what might best be called "philosomorphism" refracting the animal through an image of itself? Adopting the stance of "non-philosophy" from François Laruelle, this essay asks whether, in its (unacknowledged) attempts to shape the animal in its own image, philosophy also succeeds in refracting itself. There is a circularity of philosophical explanations (as Laruelle finds in all philosophy, in fact) that is linked to this sub-species of anthropomorphism: be it positive or negative, inflationary or deflationary, such philosomorphism is indeed resisted by the Real of animals by mutating or morphing what counts as philosophy. The reduction of the non-philosophical presence of the animal to that of being a proxy for différance, rhizomatics, bare life, or whatever else, gains its apparent force in part only by ignoring other aspects of the animal that are placed in the background, namely those that do not fit (or resist) the philosopher and his/her favoured philosophemes. The background revolts. And cinema understood here as a kind of animal, visual-thinking in all of us provides just such a mutation of what we deem thinking to be. The force of cinema simply is the power of the animal that we (always) are when we think in images, or when images think immanently within us. Film images exist where a powerful, animal form of non-human thinking resides. In addition, this essay will argue that the visual-thinking of horror film in particular (or the horrific mode found in all film) demonstrates the monstrous, animal, background as a resistant manifestation of thought. This thought concerns those putatively inert entities that film allows to emerge from the background as living, background life itself, which, by refusing to be ignored any longer, may also reform (or morph) what we mean by philosophy and thought itself. The emergence of the cinematic background horrifies and "revolts" (in both political and affective senses), and this its new kind of thinking. (shrink)

This article introduces the unique Asian film technique of the “empty shot” from the perspective of Chinese philosophical thought and aesthetics. In Chinese cinema, the “empty shot” is understood as a shot comprised of nonhuman subjects, distinct from both the establishing shot and the cutaway. Perhaps due to the lack of understanding of its philosophical grounding, the “empty shot” has not received much attention in Anglophone film studies, and has been criticized as an overgeneralised concept. This article first relates (...) the “empty shot” to the more widely accepted “pillow shot” in Anglophone studies of Japanese cinema. This article aims to make visible a non-anthropocentric worldview conveyed through the “empty shot”, and to make space for the potentialities of this film device, which may also be found in non-Chinese cinemas. It explains the “empty shot”’s central features: firstly, its visible scenes are imbued with invisible emotion, leaving space for the audience to feel what the characters are feeling. Second, it facilitates the generation of qi or “air” in a film, indicating the circulation of qi in a process of dynamic transformation between “actual” and “virtual”. Thirdly, the “empty shot” communicates with the audience, allowing them to more fully experience natural scenery and to encounter other beings while suspending everyday experiences, existing biases, and the separation between self and other. (shrink)

Scott MacDonald _A Critical Cinema 3: Interviews with Independent Filmmakers_ Berkeley: University of California Press, 1998 ISBN 0-520-08705-4 (cloth) ISBN 0-520-20943-5 (paper) 481 pp.

Un élément constant de la pensée de Stanley Cavell est sa façon de prendre au sérieux le cinéma, notamment hollywoodien, non comme objet philosophique, mais comme philosophie, comme ayant un contenu et un enseignement philosophique. Cavell, après un ouvrage général sur l’ontologie et l’expérience du cinéma,...

Un élément constant de la pensée de Stanley Cavell est sa façon de prendre au sérieux le cinéma, notamment hollywoodien, non comme objet philosophique, mais comme philosophie, comme ayant un contenu et un enseignement philosophique. Cavell, après un ouvrage général sur l’ontologie et l’expérience du cinéma,..

Laurent Kretzschmar 'Is Cinema Renewing Itself?' _Film-Philosophy_, vol. 6 no. 15, July 2002.

This essay discusses the matter of the cinematography, with the analysis of Elio Petri’s film and novel, La proprietà non è più un furto, in the background. These works are paradigmatic as to a fundamental aspect of the cinematography, that connects it with the mechanism of the money. This mechanism, as every other human product, is the effect of a projection of the humanistic ideology. For this ideology the system of exchange is the ground of the monetary circulation. Criticizing this (...) idea, this essay individualizes a correspondence between production (capture) of images in the cinema and monetary circulation (considered in his totality of displacement and original theft). (shrink)

This essay discusses the matter of the cinematography, with the analysis of Elio Petri’s film and novel, La proprietà non è più un furto, in the background. These works are paradigmatic as to a fundamental aspect of the cinematography, that connects it with the mechanism of the money. This mechanism, as every other human product, is the effect of a projection of the humanistic ideology. For this ideology the system of exchange is the ground of the monetary circulation. Criticizing this (...) idea, this essay individualizes a correspondence between production (capture) of images in the cinema and monetary circulation (considered in his totality of displacement and original theft). (shrink)

Based on a bold equation of cinema with history, Jean-Luc Godard’s essay-film Histoire du Cinéma provokes new thoughts about what historical understanding involves and how cinematic revelation can happen. This paper discusses how Histoire engages conventional standards of historical understanding while also taking us into uncharted depths of historical realization, examining the undeniable historical evidence presented in the film, undismissable insights into relations among historical data, and possibly valid judgments of historical truth. Reaching for non-obvious connections, Godard risks misleading (...) decontextualization of his materials. But by stocking our minds with pertinent film selections, new treatments of those images, and various writers’ musings he draws us into his quest for a practically decisive realization of the significance of the recent history of our civilization. (shrink)

While it is possible, as Vivian Sobchack and others show, to illuminate film through Merleau-Ponty’s philosophy, it is more difficult to find within Merleau-Ponty’s work a coherent and systematic reflection on cinema. This absence is seldom interrogated. This article addresses what this absence might reveal by analyzing the reasons why Merleau-Ponty stopped short of an explicit discussion of film. The argument builds on these analyses to show how what Merleau-Ponty found problematic about cinema might turn out to be (...) one of cinema’s most resourceful features. For Merleau-Ponty, cinema is caught between a deadening exactitude and a disappointing partiality. It is because of these two apparently opposing extremes that Merleau-Ponty sidelines cinema. However, the pairing of exactness and partiality provides an interesting moment for reflection. Intuitively the two should not coexist, since they appear mutually exclusive. Yet their coexistence seems to renew rather than foreclose a thinking of film. Guided by these two terms, Jean-Luc Nancy produces his own thought on cinema. To show how film is apt at capturing the essential excess and ambiguity of the world, the article will turn to the Lebanese film Je Veux Voir, which offers a powerful instance of cinema’s simultaneous exactitude and partiality.Bien qu’il soit possible, comme Vivian Sobchack et d’autres l’ont démontré, d’illuminer le cinéma à partir de la philosophie de Merleau-Ponty, il est beaucoup plus difficile de trouver dans l’oeuvre de Merleau-Ponty une réflexion cohérente et systématique sur le cinéma. Cette absence est rarement interrogée pour elle-même. Cet article considère ce que cette absence peut révéler en analysant les raisons pour lesquelles Merleau-Ponty ne s’est pas engagé dans une réflexion explicite sur le cinéma. En nous appuyant sur ces analyses, nous montrons que ce que Merleau-Ponty trouvait de plus problématique dans le cinéma est peut-être sa ressource la plus précieuse. Pour Merleau-Ponty, le cinéma est pris entre une exactitude abrutissante et une partialité décevante, et c’est pour cette raison que Merleau-Ponty le met sur la touche. Cependant, le jumelage de l’exactitude et de la partialité devrait nous donner matière à réflexion. Intuitivement, les deux ne devraient coexister : ils apparaissent s’exclure l’une l’autre. Pourtant, leur coexistence est en mesure de renouveler plutôt que d’exclure une pensée du cinéma. C’est guidé par ces deux termes que Jean-Luc Nancy produit sa propre pensée du cinéma. Pour montrer comment le cinéma est à même de capturer l’excès et l’ambiguïté essentiels du monde, nous proposons une lecture du film libanais Je Veux Voir, et montrons comment il offre un exemple puissant de la simultanéité de l’exactitude et de la partialité dans le cinéma. Mentre è possibile, come Vivian Sobchack e altri hanno mostrato, comprendere il film attraverso la filosofia di Merleau-Ponty, risulta più difficile rintracciare all’interno del suo lavoro una riflessione coerente e sistematica sul cinema. Se quest’assenza è stata di rado oggetto di discussione, questo articolo propone invece di interrogarsi sul possibile significato di questa assenza analizzando le ragioni per cui Merleau-Ponty non ha sviluppato una riflessione esplicitamente dedicata al cinema. Sulla base di questa analisi, si intende mostrare che ciò che Merleau-Ponty trova problematico riguardo al cinema può invece rivelarsi una delle sue caratteristiche più preziose. Secondo Merleau-Ponty, il cinema si trova costretto tra una monotona esattezza e una deludente parzialità. È a causa di questi due estremi, apparentemente opposti, che Merleau-Ponty accantona il cinema. Tuttavia, la coppia esattezza-parzialità fornisce un interessante spunto di riflessione. Intuitivamente, i due termini non dovrebbero poter coesistere: sarebbero invece reciprocamente esclusivi. Eppure, la loro coesistenza sembra rinnovare piuttosto che precludere una riflessione sul cinema. È sulla scorta di questi due termini che Jean-Luc Nancy sviluppa il proprio pensiero su questo tema. Al fine di mostrare come il cinema sia in grado di catturare l’eccesso e l’ambiguità essenziali del mondo, l’articolo propone una lettura del film libanese Je Veux Voir, che offre un esempio efficace della simultanea esattezza e parzialità del cinema. (shrink)

Sartre's recollection, in Les Mots , of his first visit to the cinema is a multi-layered and ambivalent text through which Sartre proposes a number of interlocking arguments: concerning the contrast between the 'sacred' space of the theatre and the non-ceremonial space of the cinema, between the theatre as associated with paternal authority, and the cinema as associated with a clandestine bond with the mother. But the text also sets up a quasi-sociological account of the public Sartre (...) encounters in the cinema itself as revealing to him the truth of the social bond, a truth he expresses with the term 'adherence', and which he says he only rediscovered in his experience of being a prisoner in the Stalag in 1940. Rather than the basis of a sociological account of the social bond, which would seem at odds with Sartre's social philosophy, I read this as the expression of a desire for physical proximity. The space of the cinema thus develops a fantasy, and this is in continuity with the role of the cinema in the evolution traced in Les Mots , in which it is described as instigating a withdrawal into imaginary life and an indulgence in daydreaming. Through reference to Christian Metz and to Roland Barthes, whose essay 'En sortant du cinéma' is proposed as a parallel and a response to Sartre, I suggest that the 'true bond' of adherence which Sartre encounters is an unconscious rather than an epistemological truth. (shrink)

"Dans l'œuvre d'art ou dans la théorie comme dans la chose sensible, le sens est inséparable du signe. L'expression, donc, n'est jamais achevée. La plus haute raison voisine avec la déraison. "Cette tension essentielle ainsi formulée par l'auteur sous-tend l'ensemble des essais réunis ici sous trois grandes perspectives : celle de l'art, celle de la philosophie et celle de la politique. L'étude consacrée à Cézanne comme celle qui analyse le cinéma du point de vue de la psychologie moderne s'attachent l'une (...) et l'autre à montrer la démarche créatrice cherchant sans cesse, face à "l'énigme du monde", quelles réponses nouvelles apporter à l'interrogation humaine. L'examen de l'existentialisme permet de clarifier les positions adoptées, dès la fin de la Seconde Guerre, par rapport à Hegel et à Marx, ainsi que de maintenir une réflexion politique et critique, en dépit de la débâcle prévue du communisme, sans retomber dans les séductions d'une "fin de l'histoire". C'est pourquoi, très courageusement, l'auteur entreprend, sous le titre "La guerre a eu lieu", un bilan général des années de guerre et d'immédiate après-guerre qui fait aujourd'hui écho à la conférence de Camus, "La crise de l'homme". Outre sa valeur historique, qui permet d'établir une sorte d'état des lieux des années 1944-1948 en France, ce recueil confirme toute l'ampleur et la richesse des intérêts et des problématiques qui caractérisent la pensée d'un auteur qu'on peut ainsi redécouvrir. -- Back cover. (shrink)

The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.

Recensendo nel 1923 il film Phantom di Murnau (1922), Balazs lo descrive come «un buon film tedesco»: tedesco non a causa del luogo in cui è stato prodotto ma del suo «stile» particolare, caratterizzato dal tentativo di «spiritualizzare la tecnica cinematografica». Questa possibilità di conciliare spirito e tecnica si fonda, secondo Balazs, sulla capacità del film di captare fotograficamente la Stimmung - termine intraducibile, che renderemo a volte con ‘tonalità affettiva’, ‘situazione’ o ‘a...

This paper argues for a feminist genealogy of anti-nuclear protest art, around the nucleus of the women’s camp at Greenham Common, 1981–87, a coherent account of whose significance is missing from both feminist film history and left protest history. Drawing on Adrienne Rich’s poetics as a thread connecting the larger anti-nuclear and non-violent/anti-military feminist movement specifically to aesthetic and political formations that informed films made at and about Greenham, the paper constellates a number of experimental works in relation to the (...) well-known observational documentary Carry Greenham Home. Their legacy, and the concept of a Greenham genealogy, is apparent in Sally Potter’s anti-nuclear Cuban Missile Crisis-set drama Ginger & Rosa, whose imbrication of poetry, politics, and experimental film techniques argues for a Greenham poetics. In particular, this paper considers a feminist poetics of attending to the nuclear, re-visioning the atomic, molecular and core as both an ecopoetics and a refusal of heteropatriarchal structures, both necessary to a viable alternative political formation. In their granular detailing of both world and work, these feminist texts offer a rich and continuous history, practice and analysis of anti-nuclear protest art that demands the same attention as they enact. (shrink)

While organ transplantation has been established in the medical imagination since the 1960s, this technology is currently undergoing a popular re-imagination in the era of global capitalism. As transplantation procedures have become routine in medical centers in non-Western and developing nations and as organ sales and transplant tourism become increasingly common, organs that function as a material resource increasingly derive from subaltern bodies. This essay explores this development as represented in Korean filmmaker Park Chan-wook’s 2002 Sympathy for Mr. Vengeance, focusing (...) on the ethnic and class characteristics of the global market in organs and possible modes of counter-logic to transplant technologies and related ethical discourses. (shrink)

Film, Samuel Beckett's 1964 short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal text in the latter's cinematic canon as it helps us to extrapolate the transition from the Bergson-based movement-image of Cinema 1 to the Nietzschean time-image of Cinema 2. Film is unique insofar as its narrative traverses and progressively destroys the action-, perception- and affection-images that constitute the movement-image as a whole, using Keaton's body, and more importantly his face, as (...) a means of attaining a pure intensity or Entity abstracted from all spatio-temporal coordinates, a condition of exhaustion/saturation that Deleuze and Guattari call, ‘non-human becoming’. Beckett's film is predicated on Bishop Berkeley's fundamental philosophical principle, esse est percipi (to be is to be perceived) and, using Keaton as its protagonist, raises the question of whether it is possible to escape perception, not only by a third party, but also by oneself. The latter is ‘played’ by the camera itself, which ‘stalks’ Keaton from behind, taking great pains not to exceed a 45-degree ‘angle of immunity’ (lest Buster experience percipi or the anguish of perceivedness) until the film's final close-up when he comes face to face with his own self-perception and affective annihilation. Film's denouement thus deconstructs the very nature of conventional cinematic language, whereby filmic suture – the enfolding of character, camera and spectatorial ‘viewing-views’ into a unified field of vision – gives way to a perspective where, at the very moment that the perceptive/affective body dies, the work of filmic art gives birth to itself as a being of pure sensation, exceeding lived experience. (shrink)

Ce livre part d'un constat - la tutelle du réductionnisme issu du cognitivisme (années 1960-1970) - et du désir d'affirmer une complexité scientifique, philosophique et artistique, via la théorie des systèmes dynamiques. Deux parties d'abord. L'une philosophique : unité de la conscience et problème des attentats à l'aune leibnizienne ; l'autre artistique : installations sonores et visuelles, mouvements horizontaux, question du Je et de l'altérité, images composites (vidéo et cinéma expérimental), espaces topologiques cinématographiques et musique dans ses rapports avec le (...) cerveau. Après un historique des systèmes dynamiques, la part scientifique traite, elle, de neurosciences non-linéaires, de biodynamique, de mesure de la complexité et de l'(anti-)entropie dans l'ontogenèse. En une vue transversale, ce livre opte pour une "métadisplinarité" et défend un cognitivisme non-linéaire. (shrink)

A study of the constitution and development of the human being from the metaphysical point of view, with special reference to Vedantic doctrine.

The motive for late eighteenth-century proto-technics of photography and cinema was never quite mimetic representation: it was generating autonomous impressions of natural phenomena within the tradition ofNaturphilosophie. The article analyses a series of connections between ‘natural hieroglyphs’ (von Lichtenberg), Jacques-Alexandre-César Charles’s ‘megascope’, Wedgwood’s pre-photography, Lavater’s silhouettes and antecedents of Marey’s ‘graphic method’. The goal is to document precursor ideas, devices, setups and frameworks of photoimaging medias to show that the genealogy of photography and cinema intersected through many polymath (...) transverses within the ambit of natural philosophy (and the context of slavery). (shrink)

Description: Contents: Preface 1. General Remarks on the Vedanta 2. Fundamental Distinction Between The Self and the Ego 3. The Vital Centre of the Human Being, Seat of Brahma 4. Purusha and Prakriti 5. Purusha Unaffected by Individual Modifications 6. The Degrees of Individual Manifestation 7. Buddhi or the Higher Intellect 8. Manas or the Inward Sense : The Ten External Faculties of Sensation and Action 9. The Envelopes of the Self ; The Five Vayus or Vital Functions 10. The (...) Essential Unity and Identity of the Self in all the States of the Being 11. The Different Conditions of Atma in the Human Being 12. The Waking State or the Condition of Vaishwanara 13. The Dream State or the Condition of Taijasa 14. The State of Deep Sleep or the Condition of Prajna 15. The Unconditioned State of Atma 16. The Symbolical Representation of Atma and its Conditions by the Sacred Monosyllable Om 17. The Posthumous Evolution of the Human Being 18. The Reabsorption of the Individual Faculties 19. Differences in the Posthumous Conditions According to the Degrees of Knowledge 20. The Coronal Artery and the Solar Ray 21. The Divine Journey of the Being on the Path of Liberation 22. Final Deliverance 23. Videha-mukti and Jivana-mukti 24. The Spiritual State of the Yogi : The Supreme Identity. (shrink)

The Reign of Quantity gives a concise but comprehensive view of the present state of affairs in the world, as it appears from the point of view of the 'ancient wisdom', formerly common both to the East and to the West, but now almost entirely lost sight of. The author indicates with his fabled clarity and directness the precise nature of the modern deviation, and devotes special attention to the development of modern philosophy and science, and to the part played (...) by them, with their accompanying notions of progress and evolution, in the formation of the industrial and democratic society which we now regard as 'normal'. Guénon sees history as a descent from Form (or Quality) toward Matter (or Quantity); but after the Reign of Quantity-modern materialism and the 'rise of the masses'-Guénon predicts a reign of 'inverted quality' just before the end of the age: the triumph of the 'counter-initiation', the kingdom of Antichrist. This text is considered the magnum opus among Guénon's texts of civilizational criticism, as is Symbols of Sacred Science among his studies on symbols and cosmology, and Man and His Becoming according to the Vedanta among his more purely metaphysical works. (shrink)

QUALITY AND QUANTITY are fairly generally regarded as complementary terms, although the profound reason for their comple- mentarism is often far from being understood, this reason lying in the 'polar' correspondence referred to toward ...

The concluding chapter lays down the essential conditions for any genuine understanding between East and West, which can only come through the work of those who have attained, at least in some degree, to the realization of 'wisdom uncreate' ...

Buddhist concepts of personal life and responsibilities.