Avant-Garde Cinema

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such.

Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

"The usefulness of this book lies above all in the judicious and felicitous choice of contrasting complementary case studies, each of which is given a highly original historical placement and subjected to a complex multi-layered historical hermeneutics," Professor Thomas Elsaesser writes.

What happens when we suddenly feel that a moving image is being slowed down or halted? Nowadays it happens all the time in the cinema and the art galleries. A basic question of life - is it still or is it moving? - here urgently addresses emotional and aesthetical issues as well as questions concerning media. The still/moving image compels a new sensibility. (from Saarbrucken: Lamber Academic Publishing, 2010)

Los estudios fílmicos de los últimos treinta años han puesto en evidencia la creciente imposibilidad de abordar al “cine de los primeros tiempos” separadamente de la más amplia y representativa cultura visual de su época. Hoy es indudable que, para comprender la naturaleza y complejidad de este medio, es necesario examinarlo en el contexto de las múltiples series culturales de las que emergió y con las que compartió características de variada naturaleza, aún desde mucho antes de que las condiciones tecnológicas que lo hicieron posible estuvieran dadas. La fotografía, la técnica con la que el cine está ontológicamente más vinculada, fue la base de algunos de los espectáculos visuales que mayor influencia tuvieron en el surgimiento del nuevo arte y es, sin embargo, una de las más relegadas por los estudios críticos e históricos. Este libro propone un abordaje de las múltiples relaciones que ligaron a la fotografía y al cine en la Argentina desde 1840, año de llegada del daguerrotipo al Río de la Plata, hasta 1933, fecha de estreno del primer film sonoro y momento de inicio del periodo de expansión industrial de la cinematografía nacional. La hipótesis de la que parte la autora es que gran parte de la aceptación y comprensión con la que el cine contó en sus inicios se debió a que muchas de las competencias de lectura, el manejo de convenciones, los códigos de representación, las modas temáticas y estéticas venían siendo internalizadas por los espectadores a lo largo de cincuenta años de historia de la fotografía. Convertidos en medios de información, educación y recreación, en depósitos de la memoria y el conocimiento, y en mecanismos de construcción social de la realidad, tanto la fotografía como el cine favorecieron la emergencia de un nuevo espectador que estableció una estrecha relación entre la experiencia directa de lo real y su representación, y llegó al punto de percibir las imágenes producidas por estos medios visuales como experiencias sustitutivas de conocimiento del mundo material.  Esto contribuyó a la difusión de determinadas formas de entendimiento de la realidad social, que en el caso específico de la Argentina, impactaron en cuestiones fundamentales para el contexto sociocultural del período, como la conformación de la identidad nacional, las tensiones entre modernidad y tradición o las diversas representaciones de la alteridad, entre otras. Partiendo del estudio de un amplio corpus de imágenes representativas de la producción fotográfica y cinematográfica local, esta investigación intenta hacer visibles esos diversos y complejos vínculos formales, temáticos e ideológicos que unieron a la fotografía y al cine en sus primeros años de existencia.

The aim of this study is to prove that invention of cinema was not when rupture with the past occurred, but with the proposal of new aesthetic and narrative models in the teens. Among the multiple contributions, we must highlight the “Futurist Cinema Manifesto”, published in 1916. It represents the first attempt to systematize the limits and boundaries of this new medium. Through the analysis of this document we will assess the role of this avant-garde in the experimental cinema and the potential impact on further film productions.

Keywords:  Avant-garde, experimental cinema, audiovisual narrative, editing, analogy, simultaneity, interdisciplinarity.


Este estudio trata de demostrar que el momento esencial de ruptura con el pasado, no corresponde a la invención del procedimiento de captación de imágenes en movimiento en la última década del siglo XIX, si no al planteamiento de nuevos modelos estético-narrativos desde el ámbito cinematográfico, a partir de la década de los años diez.  Entre las principales aportaciones llevadas a cabo, hay que destacar la publicación del manifiesto cinematográfico futurista en 1916, al constituir el primer intento de sistematización de los retos planteados por este nuevo medio.
A través del análisis de las principales aportaciones de este texto programático valoraremos el papel de esta vanguardia al ámbito del cine experimental y su posible repercusión en posteriores producciones fílmicas.

Palabras Clave
Vanguardia, cine experimental, narrativa audiovisual, montaje, analogía, simultaneidad, interdisciplinariedad.

Godfrey Reggio’s non-verbal film Koyaanisqatsi is a pioneer both of the emergent environmental film genre, and of certain tropes of visual narrative that have come to dominate popular culture. This essay argues that the film articulates a critique of the inability of “anti-natural man” to distinguish between the “natural” and the “artificial.” My close reading of the film has four broad claims or theses: 1) In contrast to descriptions of Koyaanisqatsi as a “non-narrative film,” I argue that it has a non-logocentric narrative structure, which is laid out through an analysis of patterns of repetition of visual tropes; 2) Koyaanisqatsi revisions the human-nature relationship; its critique of modernity-as-machine makes gestures towards, or prefigures, ecocriticism; 3) The film has a quasi-religious discourse meant to unveil the “narrative potential” of nature, and the human-nature relationship (hence Reggio’s claims about a “better narrative” which “can go directly into…the soul of the viewer”); 4) The avant-garde techniques pioneered by Koyaanisqatsi are a cornerstone of environmental film, and an important moment in the “visual turn,” which challenges traditional notions of reading and literacy.

"Remediating Transcultural Memory.Documentary filmmaking as archival intervention" offers a new approach to the study of mediated memories. It presents new theorizations of remediation, the archive and transculturality from the perspective of film and media studies. Drawing on contemporary debates in media and memory studies this innovative work examines documentary filmmaking, the essay film and YouTube clips as interventions into the audiovisual cultural heritage.

The impact of digital global media, geopolitical changes and migration demands new theorizations within memory studies. Despite the growing field of media memory studies, the impact from film and media studies has been scarce within memory studies.

This book takes a closer look at the media specificity of archival footage and how it is adapted, translated and appropriated. In its original approach this work reflects upon the role of documentary film images for the construction of memory. By merging film and media studies with memory studies the work offers multiple theoretical and methodological approaches for everyone interested in the heritage of audiovisual media: film and media scholars, memory scholars, historians, art historians, social scientists, librarians or archivists, curators and festival programmers alike.

http://www.degruyter.com/view/product/457297

Reunión de trabajos sobre un periodo poco revisado y razonado de la historiografía fílmica latinoamericana, que abarca de finales del siglo XIX hasta las tres primeras décadas del XX. Se examina la naturaleza cosmopolita de los filmes que llegaron de Europa y los Estados Unidos a Latinoamérica; se analiza cómo el cine documental articuló los mitos y exaltó a los personajes históricos; se explora el séptimo arte en los contextos de circulación y exhibición, y se estudia la asimilación de los cambios económicos, sociales y culturales dentro del discurso fílmico, sin dejar de lado la importancia del papel de los críticos de cine, realizadores y actores en esta etapa fundacional del cine latinoamericano.

En este libro se plantea la presunta modernidad del vídeo, presentando el espíritu transgresor y revolucionario del videoarte de los 60/70 como consecuencia directa de la ideología de las primeras vanguardias. De hecho, los pioneros del vídeo no hicieron más que reformular la mayoría de sus propuestas: el exacerbado interés por las posibilidades de la técnica y la tecnología demostrado anteriormente por los futuristas; la concepción de un entorno artístico multidisciplinar que ya había defendido la Bauhaus; la noción de aleatoriedad y las nuevas relaciones con la audiencia investigadas por el Surrealismo; la introducción del azar y la provocación desarrolladas por los dadaístas... y un rotundo compromiso social y político orientado hacia ese cambio revolucionario que siempre había defendido la modernidad.

"What in the 19th century was entertainment for Bourgeois children, something as simple as gluing newspaper clippings from illustrated magazines and advertisements into albums for the enjoyment of looking at it later became, in the hands of Picasso and Braque, one of the greatest sources of artistic renewal of the past century. However, Max Ernst soon warned that “Si la plume fait le plumage, la colle ne fait pas le collage” (“Though the plume makes the plumage, the glue [‘colle’] doesn’t make the collage”), and what had been created as a practice closely related to painting quickly expanded its conceptual dimension to make room for other artistic and cultural practices such as filmmaking.

This book seeks to delve that little explored territory located at the intersecting paths of collage and documentary film. The reality (or residuals thereof) is, in both cases, the starting material; the creative treatment of it, the underlying desire (whether admitted or not) of the artist/documentary-maker. And so, what happens when this irreverent and subversive attitude of collage-making, this zeal for decontextualizing, mixing around and altering the preconceived order of things, takes root in the heart of a filmmaking form that has traditionally been associated with rigor and seriousness?

The authors participating in this book trace out an incipient historical and theoretical framework for reflecting on the documentary collage, in which they focus their gaze on the key moments in the form and on the most original films by directors from places so distant from each other as Russia, Cuba, Brazil, Hungry and Spain. Together, the essays making up Rock, Paper, Scissors are offered as a closer look at the terra incognita of the documentary collage, which will most certainly encourage many to continue investigating."

Following his acclaimed history of the Situationist International up until the late sixties, The Beach Beneath the Street, McKenzie Wark returns with a companion volume which puts the late work of the Situationists in a broader and deeper context, charting their contemporary relevance and their deep critique of modernity. Wark builds on their work to map the historical stages of the society of the spectacle, from the diffuse to the integrated to what he calls the disintegrating spectacle.

The Spectacle of Disintegration takes the reader through the critique of political aesthetics of former Situationist T.J. Clark, the Fourierist utopia of Raoul Vaneigem, René Vienet’s earthy situationist cinema, Gianfranco Sangunetti’s pranking of the Italian ruling class, Alice-Becker Ho’s account of the anonymous language of the Romany, Guy Debord’s late films and his surprising work as a game designer.

At once an extraordinary counter history of radical praxis and a call to arms in the age of financial crisis and the resurgence of the streets, The Spectacle of Disintegration recalls the hidden journeys taken in the attempt to leave the twentieth century, and plots an exit from the twenty first.

What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art presents us with. And this approach is not about diminishing the sensory enjoyment of artworks, but about placing them in a much richer context, where they can work a far greater magic.

Informal communities of Russian artists and intellectuals during the late Soviet years practiced a “politics of indistinction.” They claimed to be uninterested in anything political and differentiated themselves from ordinary “Soviet citizens,” whether supporters of or dissenters from the system. However, their apolitical lifestyles and pursuits contributed greatly to creating the conditions for making the collapse of the Soviet state imminent. Close examination of one such group, the Necrorealists, raises a set of questions that are central for an understanding of momentous and unexpected social transformations, and of the concept of "politics" more broadly

This book aims at analyzing Luis Buñuel's Viridiana from a narrative and filmic perspective, raisong issues such as the use of the religions scenes as sources for the mise-en-scene and intertextual references such as Valle-Inclán, Galdós, and others. One of the main issues in the book is the conception of surrealism in Buñuel in relationship with a particular notion of realism.

Cine estructural de found footage: "133", de Eugènia Balcells y Eugeni Bonet (2010)
Barcelona: Universitat Pompeu Fabra. Tesina no publicada
http://repositori.upf.edu/handle/10230/11345

Resumen
Esta investigación analiza la obra fílmica "133" (1978-79) de Eugènia Balcells y Eugeni Bonet, una de las piezas más relevantes del cine de found footage de raíz estructural. Considerando el contexto del cine experimental y el arte conceptual realizado en España durante la década de los años ’70, se estudia el insólito punto de vista de dos cineastas conocedores de las prácticas internacionales. El texto indaga sobre el sentido de una pieza filmográfica que transgrede los códigos del lenguaje cinematográfico con humor, planteando, irónicamente, cuestiones relevantes acerca de las convenciones que rigen el audiovisual. La película queda vinculada a las manifestaciones artísticas de raíz conceptual de la artista plástica Eugènia Balcells, y al desarrollo teórico y práctico del cine experimental, divulgado y configurado por el escritor y realizador Eugeni Bonet. 133 se presenta como una creación cinematográfica que se sirve de la técnica del montaje de metraje encontrado para desvelar un carácter autorreflexivo, sutilmente lúdico, que remite a su propio soporte matérico en particular, y al arte del cine en general.

Palabras clave
Cine experimental, cine de vanguardia, cine experimental en España, found footage, cine estructural, cine estructural/materialista, arte conceptual, collage, ready-made, objet trouvé, apropiación, desmontaje, metraje encontrado, détournement, cine de artistas, Perfect Films, cine matérico, cine sin cámara, cine underground, cine independiente, cine marginal, 16mm, mass media, banda sonora, efectos de sonido, asincronía, sound art, audiovisión, código fílmico, postproducción, cine digital.

Ever since the centenary of cinema there have been intense discussions in the field of film studies about the imminent demise of the cinematic medium, endless articles championing the spirit of genuine cinephilia have proclaimed the death of classical cinema and mourned the end of an era, while new currents in media studies introduced such buzzwords into the discussions as “remediation” (Bolter and Grusin), “media convergence” (Jenkins), “post-media aesthetics” (Manovich) or “the virtual life of film” (Rodowick). By the turn of the millennium, the whole “ecosystem” of media had been radically altered through processes of hybridization and media convergence. Some theorists even claim that now that the term “medium” has triumphed in the discussions around contemporary art and culture, the actual media have already deceased, as digitized imagery absorbs all media. Moving images have entered the art galleries and new forms of inter-art relationships have been forged. They have also moved into the streets and our everyday life as a domesticated medium at everybody’s reach, into new private and public environments (and into a fusion of both via the Internet). Consequently, should we speak of an all pervasive “cinematic experience” instead of a cinematic medium? What really happens to film once its traditional medium has shape shifted into various digital forms and once its traditional locations, institutions and usages have been uprooted? What do these re-locations and re-configurations really entail? What are the most important new genres in post-media moving pictures? Is it the web video, is it 3D cinema, is it the computer game that operates with moving image narratives, is it the new “vernacular” database, the DVD, or the good old television adjusted to all these new forms? How does theatrical cinema itself adapt to or reflect on these new image forms and technologies? How can we interpret the convergence of older cinematic forms with an emerging digital aesthetics traceable in typical post-media “hosts” of moving images? These are only some of the major questions that the theoretical investigation and in-depth analyses in this volume try to answer in an attempt at exploring not the disappearance of cinema but the blooming post-media life of film.

Modern art remains a mystery because most people – including art critics and even artists themselves – are unable to see beyond the imprisoning confines of classical fine art. Everything is judged in terms of beauty and technical skill, when it should be viewed from a quite different perspective, namely that of the imaginative world that the modern artwork is a part of. Successful and authentic modern art is about creating worlds of the imagination - like a film, or a novel - only this time using different media. Modern artworks are like lobby cards and film stills to imaginative worlds, and they should not be seen as aesthetic ends-in-themselves. And for an artwork to be authentically artistic, as opposed to merely crafted, it must invoke a ‘strange and disturbing’ imaginative world, not a variant of the world we currently inhabit, as that world is the world of crafted and aesthetic objects.

The aim of the present article is to map the territory of the contemporary audio-visual cinematic avant-garde, which arose at the very moment of celluloid’s passage from mass use to obsolescence. The first group of films bears witness to the avant-garde’s ongoing interest in the formal organisation of sound/image-relationships. If one of the main concerns of sound in conventional film is to ‘naturalize’ the image, experimental film is interested instead in an anti-naturalistic use of sound. Films without sound or even without images (which still can be called ‘films’), the use of audiovisual polysemy, asynchronous or even synchronous sound as well as the visualization of code-based music are all means of revealing the constructed nature of the cinesonic event. But to pursue a productive reading of the contemporary cinematic avant-garde we have to broaden the scope beyond the formal level and lend an ear to the sounding of film’s material and its technological base. With the second group of films discussed we will enter the realm of the sound of technology itself, while the third group points out the creative potential of optically synthesized sounds. The fourth and last group, live generated sounds and images, attests to the agility of current projection performances.

The article presents visualization analysis of the films The Eleventh Year (1928) and Man with a Movie Camera (1929) by the famous Russian filmmaker Dziga Vertov. One of the goals of the project is to show how various dimensions of films can be explored using special visualization techniques inspired by media and new media art, as well as the basic principle of cinema itself - editing (i.e., selecting and arranging together media elements).

In some cases, we use digital image processing software to measure visual properties of every film frame, and then plot these measurements along with the selected frames. (For example, this approach allows us to visualize the amounts of movement in every shot in a film.)

In other cases, we don’t measure or count anything. Instead, we arrange the sampled frames from a film in a single high-resolution visualizations in particular layouts. (For example, we can represent a feature film as a grid of frames - one frame for every shot.)

This use of visualization without measurements, counting, or adding annotations is the crucial aspect of my lab’s approach for working with media collections. We hope that it can add to other approaches already used in quantitative film studies and digital humanities.

Undici saggi analizzano alcuni capolavori dell’arte contemporanea, distanti tra loro ma accomunati dal fatto di conferire movimento all’immagine. Muovendo dalla specificità dei singoli casi, l’autore documenta le motivazioni che hanno spinto i pittori a sperimentare quello svolgimento nel tempo che una volta era loro precluso, e oggi è invece un campo operativo solidamente acquisito, come si constata nella vitalità del film e soprattutto del video d’artista.
L’esame si addentra in profondità, interrogando le opere e le poetiche anche nei loro aspetti più sottili, tenendo conto sia del “da dove si viene”, ossia della storia dell’arte che continua a far scorrere sangue blu nelle pratiche degli artisti; sia del “là fuori”: la produzione mediatica, extra artistica, dove l’immagine in movimento si è via via imposta come il più popolare dei mezzi d’espressione, che ormai tutti maneggiamo in qualità di creativi grazie alla videocamera che teniamo immancabilmente a portata di mano.

"Working in Germany in the interwar era, John Heartfield (born Helmut Herzfeld, 1891–1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. A pioneer of modern photomontage, he assembled images that transformed the meaning of the mass-media photos from which they were taken. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of this brilliant, radical artist whose desire to disclose the truth obscured by the mainstream press and the propaganda of politicians made him a de facto prosecutor of Germany’s visual culture.

Zervigón charts the evolution of Heartfield’s photomontage from an act of antiwar resistance into a formalized and widely disseminated political art in the Weimar Republic, when his work appeared on everything from campaign posters to book covers. He explains how Heartfield’s engagement with montage arose from dissatisfaction with photography’s capacity to represent the modern world, and the result was likely the most important combination of avant-garde art and politics in the twentieth century. A rare look at Heartfield’s early and middle years as an artist and designer, this book provides a new understanding of photography’s role at this critical juncture in history."

Análisis textual del universo Tim Burton. Escenas Fantasmáticas.

Análisis de varias escenas de la filmografía de Tim Burton acompañadas de
datos clave sobre el autor y sus influencias para el análisis de éstas.

Trabajo de Finde Grado para la consecución del Grado en Comunicación Audiovisual calificado con Matrícula de Honor.

Countering Babette Mangolte’s and D. N. Rodowick’s assertion that it is diffi
cult to express duration in digital cinema, this article argues that an array of micro-level manipulations of the lens-based image with digital technology—color correction, digital dissolve, and extreme slow motion, all of which I call “digital micromanipulations”—are capable of deepening the presentation and exploration of cinematic duration and temporality. Drawing on the recent digital films of James Benning, Sharon Lockhart, and Thom Andersen, I demonstrate that the directors’ different uses of digital micromanipulations should be viewed as extending their experimental approaches to documentary time and aesthetics in the celluloid-based cinema.

"Current Contributors include: current contributors: Russell J Chartier: Dr. Irene Caesar;  Eva Lee ; Marko Lulić  ; Jesse Russell Brooks  ; Evelin Stermitz ;  Richard Dicarlo ; Darius ilgevicius ; Dr. Audrius V. Plioplys ; LG Taylor; Aoife Cassidy and is expanding regularly.

ASIN: B00DFA2UVO"

Controlling the projection speed of films was once a life-threatening profession: Th e highly inflammable nitrate film had to move slowly — but not too slowly — past the burning heat of the arc lamp, and projectionists who tried to meddle with this mechanical apparatus (or simply fell asleep while working) risked burning down both the projection booth and the movie theater. In the early days of cinema, silent films were projected at varying speeds regulated by the theater management, rather than by the filmmakers or production studios (see Brownlow 1980, 164). On May 9, 1908, the Moving Picture World warned: " Th ere is no hard and fast rule that can be laid down governing speed.. .. It is as likely as not that the speed should be changed several times in different portions of the same film " (qtd. in Brownlow 1980, 167). During the silent era, projecting a film at a speed slower than 40 feet per minute was deemed unsafe. This correlation between projection speed, potential danger, and possible death might seem a relic of the pre-digital days of yore. However, by closely studying a new spectatorial mode called " speed watching, " this chapter will argue that the specters of the flammable celluloid strip surprisingly morphed into new — and often denied — correlations between the digital apparatus and the fear of dying (manifested and sublimated as a fear of boredom, inefficiency, or slowing down). In the digital mediascape, the "viewser" — to borrow Dan Harries ' amalgam of " viewer " and " user " (2002) — now occupies the place of the projectionist.

Le surréalisme de Raoul Ruiz

Dans ce mémoire de maîtrise, nous nous sommes plongés dans l'univers cinématographique vaste et complexe de Raoul Ruiz (120 films et plusieurs textes théoriques répartis en cinq décennies et plusieurs continents), pour proposer une vision nouvelle sur son travail filmique et théorique le reliant à une certaine postérité du surréalisme. Cette question est problématique : le cinéma surréaliste étant défini par André Breton à partir d’un canon très stricte, lequel a été repris par des chercheurs comme Alain et Odette Virmaux. Pourtant, il est possible de déceler un héritage surréaliste dans l’œuvre de plusieurs réalisateurs situés en dehors du groupe originel. La recherche menée par Michael Richardson à cet égard y est exemplaire, mais les considérations d’Ado Kyrou à ce sujet sont aussi à prendre en compte.

Dans ce contexte-là, nous avons voulu éclairer les liens possibles entre Raoul Ruiz et ce courant de pensée. Ceux-là nous semblent consistants et présents dans plusieurs éléments autant dans l’œuvre filmique que théorique du réalisateur. Il s’agit de traits profonds qui vont bien au-delà du concept réducteur de surréel : ils se situent à un niveau conceptuel, philosophique, formel et dans l’emploi de techniques précises. Tout d’abord, le développement d’une « métaphysique matérialiste » (concept que nous empruntons à Walter Benjamin) rapproche Ruiz de Breton. Par rapport aux méthodes d’écriture scénaristique et de tournage, le cinéaste y applique des idées surréalistes, tel que la « double vision » (dérivée de la méthode paranoïaque-critique de Dali) et l’écriture automatique.

De façon théorique, Raoul Ruiz développe plusieurs concepts en lien avec le surréalisme : la confection « d’objets poétiques », l’origine onirique des images, l’opposition au réalisme « ontologique » du cinéma (Bazin), l’existence d’un « inconscient cinématographique » (reprenant la notion « d’inconscient optique » de Walter Benjamin) et la volonté de révéler des « techniques de résistance culturelle » à travers le cinéma. D’autre part, la confection d’un cinéma poétique est pour Ruiz un moyen de s’opposer à l’idéologie capitaliste véhiculée par les méthodes hollywoodiennes de production et d’écriture scénique (le problème du conflit central et des paradigmes de la narration industrielle).

En outre, l’œuvre de Raoul Ruiz questionne le spectateur et l’oblige à être actif, à développer son « propre film » grâce à un processus de décodage proche des idées surréalistes. Les thématiques abordées par le réalisateur sont également en résonance avec ce courant de pensée (en particulier avec la vision « hérétique » de Georges Bataille) : l’amour fou, la folie, la virtualité, le caractère androgyne de certains personnages, l’onirisme, l’enfance, l’alcool et la violence. La problématique de la communication entre humains (et entre une œuvre et un spectateur) se situe également parmi les centres d’intérêts communs à Ruiz et aux surréalistes.

Or, cette perspective n’a été que très peu abordée jusqu’à nos jours.

Dans une première partie de ce mémoire, nous avons exploré les discours établis à propos de Raoul Ruiz, pour découvrir la position hégémonique qu'occupe l'interprétation baroquisante de son œuvre. Celle-là est devenue un discours d'autorité. Pourtant, nous considérons que cette perspective est insuffisante pour décrire la richesse des films et des textes de Ruiz. Elle s'est donc transformée en un obstacle épistémologique qui étouffe de nouvelles perspectives.

Dans une deuxième partie, nous avons cherché à définir une postérité possible au surréalisme chez Raoul Ruiz: quelles sont ses spécificités, comment interagit-il avec le mouvement originel de Breton et comment le réalisateur se réfère-t-il au terme.

Par la suite, nous avons abordé la théorie et la pratique cinématographiques de Raoul Ruiz, éclairant des concepts utilisés par le cinéaste, comme "dispositif de tournage", "inconscient cinématographique", "double vision", "objets poétiques" et "techniques de résistance culturelle". Nous avons analysé également trois œuvres pour illustrer comment se manifeste le surréalisme à travers celles-ci: La Valise (1963-2008), Petite Colombe Blanche (1973) et La Ville des Pirates (1983). Finalement, nous avons cherché à déceler une postérité possible à sa vision du cinéma chez des auteurs actuels.

In Spain, the influence of European avant-garde movements produced a break of the artistic canon established, being nowadays considered as one of the most fruitful periods of our culture. This period, comprised between 1910 and 1936, the starting year of the Spanish Civil War, after which this period would be stopped. Currently, to know how these innovative proposals had place is highly relevant. These proposals allowed the artistic development in Spain and becoming crucial for this country, as well as for the rest of Europe.
In 1895, the cinema’s invention by the Lumière brothers caused the appearance of creators who cared about this new kind of art, using it as an experimentation media. The surrealist movement had a great acceptance by Spanish artists, being the most representative case Luis Buñuel and Salvador Dalí. But cinema not only had an experimental use: José Val del Omar used it as a scientific tool, using it with an educational value during his work at the Educational Missions, as well as trying to patent inventions that would help in its technological development. Ramón Gómez de la Serna knew how to make use of cinema to expand his personal literary world. Others, like Federico García Lorca or Ernesto Giménez Caballero, just worked around it or even encouraging it. All of them made unique artworks at the film industry that, throughout art history, represented the "total artwork" that was able to collect the rest of disciplines: music, painting, scenery, theatre or literature. This communication tries to show the existing relationship between the concepts of the real and the virtual in this period, suggesting the importance of the cinematographic creation processes performed from the idea’s conception to its realization.

This article investigates how artists’ attempts to inject a time element to painting through cinematic means expanded the aesthetic and affective possibilities of both mediums. These approaches include ‘painted films’ wherein the artist applies paint directly onto the celluloid in an exploration of an alternative material support for painting, as well as ‘filmed paintings’, films that display the act of a painting being made. The article surveys the historical development of these intermedial concepts and methods before offering close readings of films by José Antonio Sistiaga, Francis Lee, David Haxton, in order to demonstrate how these works simultaneously complicate the notion of medium specific- ity as they present new modes of, and encounters with, painting.

Parts of this have since appeared in publications elsewhere. Posting the file because it contains additional detail/ ideas/ correspondence on various topics. Discussion of Lennon, McCartney, Duchamp & Stockhausen is unique to this, though selections from sections on 'Norwegian Wood' appear in the articles 'Where You Once Belonged' & 'The Beatles' Uses of Literacy'. Discussion on Hoggart & Melly appear in my review of Hoggart (1957/2009). The rest is fresh.