The Situationist International: A User's Guide (review) (original) (raw)
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With this paper, I want to share with you my thinking on what I have considered the basis of this conference: the real of reality and what is disclosed about it through inquiry into the nature of film, a technically conditioned, audiovisual being of the reproduction of reality. What exactly is this real of reality in technical reproduction? Throughout, I will argue that insight on the nature of filmic reproduction is to be sought in the area of the 'being' of reality, which seems to be reproducible by film. What comes up in this specific reflection on the ontological nature of the photographic image in movement, or, better, the being of the object it depicts, is the following: to be reproducible is a quality of the being of objects that exist in reality. It is this being, which becomes reproducible in film, a pure being, out of time and space that transports the real of reality. The connection between the photograph and the depicted object is thereby based on André Bazin's approach, describing the photographic image as a " transference of reality from the thing to its reproduction. " 1 In this talk I propose to inquire into the being of the reproduced objects in film and in the world and, furthermore, building on Heidegger and his complex conception of the " presence of what is present, " to finally delineate the term " real of reality. "
2014
The main activity of consciousness is not to allow us to perceive the world, but to allow us to orient ourselves in it. Its work, in other words, allows each one to create a relationship with himself or herself only by directing it towards others and towards things: it ensures the presence of the self to itself only by relating it to what is different from it. The fact that the conscious being overlaps and intersects the being in relation means that the body, far from being a tyrant that imposes his laws, grows and develops itself only by means of a symbiosis with social life: it manages to give an accomplished form to consciousness only by means of symbolic interactions. This relationship between the human body and society manifests itself in the form of an ongoing struggle in which the stakes are the internal intersection points – in the heart itself of the cognitive problem – and the external ones – in the languages, in the objects, in all the social forms. It is around these eve...
Surface & Projection – an investigation of the event of cinema
Master of Fine Arts report/thesis - supervisor John Gillies UNSW College of Fine Arts, 2004
Surface and Projection is an investigation of the cinema event, defined as image, projection, space and audience. The project interrogates the place where cinema occurs for the viewer, starting with the special viewing conditions for film watching and the accepted roles they create for the film maker, the exhibitor and the spectator. The artworks in Surface and Projection have been a series of reassemblages of the elements of the cinematic event. The film installation Moving Still Life is the key work. The report starts by defining the event of cinema, drawing on French film theorist Jean-Louis Baudry’s 1970 essay Ideological Effects of the Basic Cinematic Apparatus. As Moving Still Life took shape, identifying its art and film historical contexts became part of the wider investigation of the cinematic event. Section 2 teases out resonances with Italian Arte Povera and outlines a brief history of super 8 art film making in Australia. It links these to the specific material grounds of Moving Still Life. Art in the public domain is discussed as the art work was initially conceived as an installation for outdoor public spaces. Section 3 discusses expanded cinema, a primary art historical context. There is a general survey of this early intermedia form as it developed in the US and Europe and its presence in Australia. While I make a case for the four elements that comprise the cinematic event, I expand upon the development of the artwork, where image became a dominant strand of its own. A specific form of film making evolved, focusing on the layered image. The final sections of the report, ‘Image’ and ‘Sequence’, focus on this image work, drawing on Umberto Eco’s 1960 essay The Open Work and American art writer Rosalind Krauss’ writing on installation and post-medium artwork. The deconstructive ethos of the project leads to an analysis of the frame within the sequence and the attacks on the frame made by Moving Still Life and my image work in general. The analysis of sequence within moving images, draws on a seminal 1945 essay by American writer Joseph Frank, Spatial Form in Literature. This builds to a discussion of new media, interrogating its claim for interactivity in moving images, an impossibility while the frame remains the primary unit.
Cinematographic Art & Documentation, nr 18, 2016, UNATC
SUMMARY Sergiu ANGHEL, professor, National University of Drama and Film "I.L. Caragia- le” (UNATC), Bucharest - Editorial: Text and Its Worlds – Texture and Its Lights Alex IORDĂCHESCU, Producer Elephant Film -De l’importance du cinéma en tant qu’outil d’exploration de la conscience Andrei C. ȘERBAN, Ph. D c. „Lucian Blaga” University, Sibiu - La Pianiste ou l’homme-objet. Haneke et Jelinek : entre image et texte Sedat YILDIRIM, Ph. D c. Tallinn University, Estonian Institute of Humanities - Deconstructing The Musical Genre In ‘The Commitments’ (1991) Monica ILIE-PRICA, Ph.Dc., National University of Political Studies and Public Administration, Bucharest - Rediscovering the treasures of the Romanian cine- matographic art of the 1930s through the Cinema magazines. II. Cultural Studies Greek imaginary in contemporary forms Linda Maria BAROS, Linda Maria BAROS, Ph.D, Paris-SorbonneUniversity, - Traductions visuelles du modèle vénusien Diana NECHIT, Ph. D, “Lucian Blaga”University, Sibiu- Théâtralité et ciné- matographicité dans « La Vénus à la fourrure » de Roman Polanski Efstratia OKTAPODA, professor, Université de Paris IV-Sorbonne (France) - Pour une sociologie de la chanson et de la danse.Le théâtre d’ombres de Karaghiozis