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Wartenberg Mount Holyoke College. Piso Av. Paulo Rocha stands in the history of Portuguese cinema as one of its foremost filmmakers. Given that the news of Paulo Rochas passing only came to us after the closing of the present issue, it is impossible to include a proper testimony of his work and legacy. This journal welcomes contributions on Paulo Rochas work from a philosophical perspective, to be published in the following issues.
Mussolinis character. Did I really see green the first time? This article was first published in New Takes in Film-Philosophy, ed. It is reprinted here with the kind permission of Vivian Sobchack and Palgrave Macmillan. Gaston Bachelard, The Poetics of Space, trans.
Maria Jolas Boston: Beacon Press, , xiii. Howe, review of Blue. Michel Chion, Audio-vision: Sound on Screen, ed. James M. Brophy, Where Sound Is, Ihde, Experimental Phenomenology, Barthes, The Grain of the Voice, Bachelard, The Poetics of Space, xii. Its now that matters. It should be noted that The Cheat was originally made in by Cecil B. DeMille, and also featured the elements of overt sensuality and Orientalism that characterized the version.
Jennifer M. Barker, The Tactile Eye, Staiger, Bad Women, Barker, The Tactile Eye, and Mulvey, Death 24x a Second, Doherty, Pre-Code Hollywood, In Jacobs, The Wages of Sin, Pravadelli, Cinema and the Modern Woman, 7.
Pravadelli, Cinema and the Modern Woman, Jacobs, The Wages of Sin, For a related discussion, see Mulveys analysis of the image of woman as commodity spectacle in Fetishism and Curiosity , Maltby, Baby Face, 41 and Jenkins, Convergence, Instead it carries. David N. Marks, The Skin of the Film, See D. Boyd, and N. Brian Massumi, foreword to A Thousand Plateaus, x.
Rieser and A. Zapp London: BFI, , 3. Merleau-Ponty, Phenomenology of Perception, Fear Thy Not, dir. This shooting style reassesses the role of the script. It is a rather invented. Deleuze, Cinema 2, Annette Michelson, trans. Interview with Lars von Trier, personal communication, 12 Nov.
Robert Sinnerbrink also discusses the idea of exchange in the film, but while I see the act of exchange as a social law that motivates the characters physical actions, Sinnerbrink discusses it in different terms, that is, as the libidinal economy of desire that infiltrates the system.
Von Trier qtd. Philip Auslander London: Routledge, , See ibid. II, ed. I am paraphrasing Giorgio Agambens argument that [i]n the cinema, a society that has lost its gestures seeks to reappropriate what it has lost while simultaneously recording that loss.
Liz Heron London: Verso, , Tauris, , But she is the only one. Antonio Scandola, Stare sul corpo: la visione dell'attore, in Marco Bellocchio: il cinema e i film, ed.
Adriano Apr Venezia: Marsilio, , Cristina Jandelli, Breve storia del divismo cinematografico Venezia: Marsilio, , A seconda delle circostanze, la gesticolazione si fonda su alcuni fondamentali movimenti delle braccia, delle mani, del pugno che vengono mossi sempre pi freneticamente in rapporto allaumento dell'emotivit che si intende produrre nelluditorio.
I movimenti sono quasi sempre netti . Altro elemento importante il gesto che aumenta d'intensit, spezza il discorso, produce l'applauso prima ancora che si sappia che cosa Mussolini intende dire. Depending on the circumstances, the gesticulation is based on some fundamental movements of the arms, the hands and fists that are moved ever more frantically in relation to the stirring up of the emotions that one aims to produce in the audience. The movements are almost always precise .
Another important element is the gesture that increases in intensity, breaks the speech, produces applause even before one knows what Mussolini intends to say. Sergio Luzzatto, Il corpo del duce Torino: Einaudi, , 6. Emuli degli innamorati di Sthendal, uomini e donne dell'Italia fascista hanno dapprima immaginato loggetto del loro amore, adoperandosi poi affinch il duce vero corrispondesse alla loro immagine ideale.
Luzzatto, Il corpo del duce, Like the lovers of Sthendal, men and women of fascist Italy first imagined the object of their love and then tried to find a correspondence between the real duce real and their ideal image. Al pari di altri sistemi totalitari del Novecento, il fascismo ha variamente elaborato il sogno di garantire al corpo del capo carismatico la durabilit di un monumento, cio di un oggetto inanimato, indistinguibile per natura da un corpo imbalsamato.
Like other totalitarian systems of the Twentieth century, fascism has variously worked out the dream to give the body of the charismatic leader the durability of a monument, i. Virgilio Fantuzzi has pointed out that a constant element of Bellocchios films and of his being an author is the debunking of old myths, followed by the construction of new ones: Luso dei simboli, la cura dei dettagli, la ricerca di un punto di convergenza tra significante e significato, la convinzione che latteggiamento del corpo esprime linteriorit della persona sono elementi comuni che legano la figura del regista a quello che, nella liturgia vera e propria, il ruolo del cerimoniere, intendendo per cerimoniere non chi si limita ad applicare regole fissate una volta per sempre, ma chi inventa riti nuovi, adatti alle circostanze che si presentano sempre diverse.
Bellocchio distrugge vecchi riti per costruirne di nuovi. Lo fa con consapevolezza e determinazione. Fantuzzi, Marco Bellocchio: tra sacralit e dissacrazione, in Marco Bellocchio, ed.
Adiano Apr Venice: Edizione Marsilio, , Bellocchio destroys old rites to build new ones. He does so with awareness and determination.
Kracauers picture palaces; it is a privatized, serial, small group affair. What was France doing in Algeria? In brief, he argues that there are two sides to time. Defined by Kate Mondloch as post works of art in which artists have made claims upon cinema within the institutional context of the visual arts. The writers to which this paper refers are either artists, writers who make significant contributions to this field, lecturers in Art Schools or, more likely, combinations of all.
Philbrick, Subcutaneous Melodrama, Walsh does not refer to Lacan and Althussarian structuralism but they lurk behind her arguments, she talks instead of a deconstructionist mode of cinema represented by Douglas Gordons 24 Hour Psycho and Pierre Huyghes Remake Walsh, Cinema in the Gallery, 2.
Walsh, Cinema in the Gallery, 1. Deleuze and Guattari, What is Philosophy? Deleuze, Nietzsche and Philosophy, trans. Hugh Tomlinson London: Continuum, , Catherine Fowler, Room for Experiment, Deleuze, Essays: Critical and Clinical, trans. Daniel W. Smith and Michael A.
Greco Minneapolis: University of Minnesota Press, , This requires some clarification. There is no suggestion of intertextuality or Derridean deconstruction at work here, because for Deleuze texts are merely small cog[s] in an extra-textual practice  it is a question of seeing to what use it has in the extra-textual practice that prolongs the text.
Cnema, The Body, Embodiment
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