Jacques Tati Research Papers - Academia.edu (original) (raw)

„Cuba: ¿Tránsito o cambio?“ (A. Gremels); „Houellebecq, Soumission“

This paper examines the relation between the concept of alienation and modern architecture by way of the interaction in architecture and cinema. Jacques Tati's three films which predominantly focus on urban and architectural issues, are... more

This paper examines the relation between the concept of alienation and modern architecture by way of the interaction in architecture and cinema. Jacques Tati's three films which predominantly focus on urban and architectural issues, are the subject of this paper. Architecture is one of the representative that strongly determines and directs the way of life in modern times, so the concept of alienation can dominate discussions of modern architecture. This paper also aims to discuss the inhabitant's position in modern architecture and focus on it's perception in everyday life practices.

« Notes sur la dérive urbaine», in Manola, Antonioli., (dir.), Machines de guerre urbaines, Paris, Éditions Loco, 2015.

The paper explores Tati's use of new film media in 'Playtime' in ways that reveal more fundamental modes of social, mimetic and situational mediation as performed in the film by architects, and architect-like characters, and by the... more

The paper explores Tati's use of new film media in 'Playtime' in ways that reveal more fundamental modes of social, mimetic and situational mediation as performed in the film by architects, and architect-like characters, and by the architectural settings which Jacques Tati devised.

Un estudio sobre la arquitectura en tres directores cinematográficos: Orson Welles, Jacques Tati y Wim Wenders, incidiendo en dos películas de cada director. Seguido de un artículo sobre las relaciones entre el espacio arquitectónico y el... more

Un estudio sobre la arquitectura en tres directores cinematográficos: Orson Welles, Jacques Tati y Wim Wenders, incidiendo en dos películas de cada director. Seguido de un artículo sobre las relaciones entre el espacio arquitectónico y el cinematográfico.

Play Time (Frankreich 1965-67) ist das Meisterwerk des französischen Regisseurs und Komi-kers Jacques Tati. Thema ist die Krise des technisierten und mediatisierten Alltags des 20. Jahrhunderts und der modernen Urbanität. Das Paris des... more

Play Time (Frankreich 1965-67) ist das Meisterwerk des französischen Regisseurs und Komi-kers Jacques Tati. Thema ist die Krise des technisierten und mediatisierten Alltags des 20. Jahrhunderts und der modernen Urbanität. Das Paris des Films, in dem man sich beständig findet und wieder verliert, ist ein typischer Nicht-Ort, bestehend aus modernsten Gebäuden, deren Zweck nie greifbar ersichtlich wird, Durchgangsstationen zu undefinierten Zielen, die letztlich auf anarchische Weise zerstört und definiert werden. Playtime ist ein Film mit viel-fältigen intermedialen Bezügen, ein ironischer Ausblick auf eine Zukunft, in der Individualität und Konsum-Uniformität einander gegenüberstehen, um sich im Glanz des neuen Designs zu versöhnen.
All dies macht den Film zu einem exemplarischen Gegenstand für eine multiperspektivische Herangehensweise. Die einzelnen Beiträge interpretieren und analysieren den Film auf dem Hintergrund ihres jeweiligen Faches: Kunstwissenschaft, Filmwissenschaft, Philosophie, Mu-sikwissenschaft, Industrial Design, Transportation Design und Design-Geschichte. Wissen-schaft und gestalterische Praxis treten in einen Dialog.
Mit Beiträgen von: Brice d’Antras, Design-Geschichte; Johannes Böhringer, Philosophie; Frieder Butzmann, Musikwissenschaft; Michael Glasmeier, Kunstwissenschaft; Heike Klip-pel, Filmwissenschaft; Erich Kruse, Industrie-Design; Stefan Rammler, Transportation Design; Katharina Sykora, Kunstwissenschaft.

In this article I show how the revolving restaurant view can be investigated media archeologically as an optical device. As a methodology media archeology enables me to “discover” or unpack hidden connections between architectural... more

In this article I show how the revolving restaurant view can be investigated media archeologically as an optical device. As a methodology media archeology enables me to “discover” or unpack hidden connections between architectural structures, mobile mechanical observation units and information technology, allowing the concept of the cinematic to be a concern also of the architectural. This preliminary comment is part of a bigger project where I show how a media archeologically motivated analysis of the parallel development of kinetic structures, aerial rides and new imaging technologies have the potential to confront and open up new perspectives on the increasing aero-visual predominance in our culture and society.

Review of Sylvain Chomet, L'Illusionniste

While modern architecture and design have often been seen as harsh and impersonal, this essay reassesses this association through a closer look at the influence of mysticism and the occult on the Bauhaus, an interwar German reform... more

While modern architecture and design have often been seen as harsh and impersonal, this essay reassesses this association through a closer look at the influence of mysticism and the occult on the Bauhaus, an interwar German reform movement and school for art, craft, design, and architecture. Even as they developed their famous streamlined designs, members of the school also produced images based on alternative religions, spiritism, and other experimental and occult practices. Such images participated in a broader context of research into the otherworldly and a rediscovery of nature and the environment. Reintegrating this other history into what we know of the Bauhaus allows us to understand modernism anew, not as cold and soulless but as part of larger attempts to perceive and shape a new world that was quickly unfolding around its subjects.

(Post-Print allowed by Publisher uploaded OR ask for a copy) Godard’s films prior to 1968 are usually received as pure experimentations of style, as if these films were little more than art-historical examples of a certain kind of... more

(Post-Print allowed by Publisher uploaded OR ask for a copy) Godard’s films prior to 1968 are usually received as pure experimentations of style, as if these films were little more than art-historical examples of a certain kind of avant-garde cinema. The author argues instead that Godard’s often frenzied cinematic experimentations in his early movies may be understood as reflections on the political, cultural and historical issues of France in the 1950s and 60s. In his early films, Godard engages the political and aesthetic strategy of much of French philosophy and avant-garde: the playful and often self-contradictory project of resisting the spectacles of modernity, while transforming the everyday. The author contends that this project constitutes what Jameson calls the political unconscious of Godard’s early work. To sketch this unconscious, the author refers to the larger context in which philosophers, cultural critics and filmmakers take issue with notions of the everyday, spectacle, style, resistance, festivity, consumerism, as well as with the signs of postwar modernity such as cars, modern households, traffic, polls and movies.

Studia philosophica 69/2010 Guillemette Bolens Les événements kinésiques dans le cinéma burlesque de Buster Keaton et de Jacques Tati Shaped through interrelated body schemas and the intermediary space and time of gestural interaction,... more

Studia philosophica 69/2010 Guillemette Bolens Les événements kinésiques dans le cinéma burlesque de Buster Keaton et de Jacques Tati Shaped through interrelated body schemas and the intermediary space and time of gestural interaction, kinesic events ground the possibility of intersubjectivity. Buster Keaton and Jacques Tati tell extraordinarily expressive, albeit silent, tales of kinesis. They stage the complexity of multi-layered forms of intentionality and agency, and show the cardinal importance of sensorimotricity in human cognition. Kinesic fictionalizing acts in their films manifest the significance of unpredictability in human expressiveness as well as the importance of active perception in the viewer's reception of artworks. Si l'action n'a quelque splendeur de liberté, elle n'a point de grâce ni d'honneur. Montaigne, Les Essais III. 9

Smart homes in speculative fiction (SF) range from the ominously sinister to the strategically life-saving, revealing our hopes and fears for science: possibilities we envision for artificial intelligence (AI), yet also dangers of such... more

Smart homes in speculative fiction (SF) range from the ominously sinister to the strategically life-saving, revealing our hopes and fears for science: possibilities we envision for artificial intelligence (AI), yet also dangers of such technology. Within these narratives, we can also see the cracks in our conceptions, where it may be time to rethink our assumptions about intelligence, ethics, motives.

Review of Guérand, Jacques Tati

Mi interés por el estudio de la imagen fílmica en tanto que vehículo para la interpretación de la memoria colectiva de las ciudades me ha conducido hasta la obra del director francés JacquesTati, por dos razones esenciales: la... more

Mi interés por el estudio de la imagen fílmica en tanto que vehículo para la interpretación de la memoria colectiva de las ciudades me ha conducido hasta la obra del director francés JacquesTati, por dos razones esenciales: la esclarecedora visión que ofrece de muchas de las ilusiones urbanas creadas durante el siglo XX y su discurso pionero acerca de los valores humanos esenciales a ser preservados en el contexto de la sociedad global.

A simple, sensitive and validated spectrophotometric method for the determination of finasteride using 2-Chloro-7-nitrobenzo-2-oxa-1, 3-diazol (NBD-CL) has been developed. The method is based on the reaction of finasteride and NBD-CL at... more

A simple, sensitive and validated spectrophotometric method for the determination of finasteride using 2-Chloro-7-nitrobenzo-2-oxa-1, 3-diazol (NBD-CL) has been developed. The method is based on the reaction of finasteride and NBD-CL at alkaline medium (pH 11.0) to develop a deep brown adduct that bears maximum absorption at 467 nm. Beer's law is obeyed in the concentration range 25-75 μg/mL of finasteride at the selected wavelength. Under optimized reaction conditions, the linear regression equation of the calibration curve is y = 0.010489524x-0.012190476 with a linear regression correlation coefficient of 0.999. The limit of detection (LOD) and limit of quantification (LOQ) were found to be 0.17 μg/mL and 0.52 μg/mL respectively. The method has been successfully applied to the determination of finasteride in pharmaceutical formulation.

Signes des dix mille façons d'être en équilibre dans ce monde mouvant qui se rit de l'adaptation Henri Michaux, Face aux verrous Selon Marielle MACÉ, le style est ce qui appelle et attire notre capacité d'attention (la sélectionne, la... more

Signes des dix mille façons d'être en équilibre dans ce monde mouvant qui se rit de l'adaptation Henri Michaux, Face aux verrous Selon Marielle MACÉ, le style est ce qui appelle et attire notre capacité d'attention (la sélectionne, la dirige et parfois l'égare), requérant notre regard ou notre écoute; mais aussi ce qui concentre durablement notre intérêt, nous apprend à marquer le pas, à prolonger le temps de la perception. Ainsi s'aiguise un véritable «sens pratique» qui nous rend sensibles aux différenciations, aux variations insubstituables, aux valeurs, comme à autant de formes d'être.

This pic is an education. It took an American showman to demonstrate to the French, on their home plate, that a picture could be made here on a 30,000budgetandgross30,000 budget and gross 30,000budgetandgross12,000 in its first week’s simultaneous release in four small Paris... more

This pic is an education. It took an American showman to demonstrate to the French, on their home plate, that a picture could be made here on a 30,000budgetandgross30,000 budget and gross 30,000budgetandgross12,000 in its first week’s simultaneous release in four small Paris first-run houses headed by the Champs-Elysees’ Balzac. This is a constructive answer to local producers’ gripes that Hollywood opposition kills their industry. Borrah Minevitch, who has been in Paris a couple of years, put together the money, story, star and, above all, the knowhow.1

Cet article explore, à travers le paradigme de la traduction, la mise en scène des interactions sociales dans Playtime de Jacques Tati (1967), Kontakthof de Pina Bausch (1978-2000-2008) et Reconstitutions d’Édouard Levé (1998-2003).... more

Cet article explore, à travers le paradigme de la traduction, la mise en scène des interactions sociales dans Playtime de Jacques Tati (1967), Kontakthof de Pina Bausch (1978-2000-2008) et Reconstitutions d’Édouard Levé (1998-2003). Chacune de ces œuvres témoigne du désir de traduire le social en esthétique : il s’agit de dire l’ordinaire des jeux de distance et de proximité entre les corps, par le cinéma, la danse ou la photographie. Ce geste de traduction emprunte à la logique de la re-présentation qui réifie le social, mais il ne peut s’y réduire. Car la traduction vise aussi à reconduire, sur la scène de l’art, la dynamique du lien en tant qu’adresse faite à l’autre, au risque de son échec. Penser le geste artistique comme traduction permet d’être sensible au devenir chorégraphique des situations sociales, autant qu’à la socialité qui anime des oeuvres qui nous émeuvent ou nous indiffèrent.

Relaciones entre las películas de Jacques Tati y la arquitectura.

The article deals with the work of the director and actor Jacques Tati. It tries to explain why Jacques Tati fails at the end of his career, particularly because of his perfectionism which lead him to poverty and the inability to make... more

The article deals with the work of the director and actor Jacques Tati. It tries to explain why Jacques Tati fails at the end of his career, particularly because of his perfectionism which lead him to poverty and the inability to make other films he wanted to. Finally, the author mentions the influence of Tati’s work on his followers. So far, his influence has been stronger abroad than in France, but we can already observe slight changes.

French filmmaker Jacques Tati made two feature-length comedies - Mon Oncle (1958) and Playtime (1967) - which lampooned the ostensibly rational modernist movement in architecture, interior design, and consumer products as a threat to... more

French filmmaker Jacques Tati made two feature-length comedies - Mon Oncle (1958) and Playtime (1967) - which lampooned the ostensibly rational modernist movement in architecture, interior design, and consumer products as a threat to traditional models of domestic life. Although these films have been the subject of several arching critical histories, scholars have not addressed Tati's vision of interiority through the contrasting contexts of industrial modernity and bourgeois domesticity. I argue that Tati was himself a designer of peculiarly dysfunctional interiors, furnishings, and gadgets that only seemed to meet the needs of their users. Tati examined the works of architects like Le Corbusier and Philip Johnson as exempla of monumental modernism. For each film, Tati spent months in pre-production perfecting his own derivative buildings and imaginary appliances. Yet the purpose of these designs was to appear perfectly devised, when, in fact, they were physically frail, conceptually brittle, and vain. Tati's bumbling alter ego, Monsieur Hulot, served as the director's foil and agent, through whose frolics both the material and practical defects of the modern home environment were revealed. Of course, Tati's vision is a hyperbolic one, and it would be a mistake to judge the ultimate success of the modernist experiment by the disintegration of an artist's sham creations. Tati's films do, however, offer compelling insights into the guising of uncomfortable and impractical designs with the sheen of modernism, and should, therefore, be added to the core historiography of postwar modernism and interior design.