Film and Arts

Few painters have had as many films made about their lives as Vincent van Gogh. The interest in his story is due in part to the mystery surrounding his last days, in Arles, France. It is thus no coincidence that all the biopics about the Dutch painter focus on this stage of his life, including the recent works Loving Vincent (2017), an animated film by Dorota Kobiela and Hugh Welchman, and Julian Schnabel's At Eternity's Gate (2018). A comparative study of these two feature films, representing two different aesthetic and dramatic approaches, is conducted in pursuit of the two objectives of this paper: to identify the conventions of the subgenre of the artist biopic; and consequently, to analyze how both films reflect on the artist's creative practice in order to determine whether the film camera is in fact capable of capturing the brushstroke and the mystique of the genius.

A obra do cineasta ganês John Akomfrah foi objeto de uma mostra bem abrangente no Brasil desde o final de 2017, primeiro em Brasília e São Paulo, depois no Rio de Janeiro . Akomfrah, filho de exilados políticos que se fixaram na Inglaterra na década de 60, fez grande parte do seu trabalho vinculado ao Black Audio Film Collective, grupo de projetos multimídia fundado no início da década de 1980 pelo próprio Akomfrah e outros estudantes de cinema da Universidade de Portsmouth. Com filmes e instalações que se colocam na fronteira entre o cinema e as artes visuais de vanguarda, Akomfrah vem se afirmando como uma figura chave na construção de uma poética diaspórica audiovisual, na elaboração de imagens substanciais sobre raça, identidade e migração que nunca resvalam no meramente panfletário ou descritivo.

One of the most comprehensive books to focus on the relationship between cinema and the other arts, this volume explores types and stylistic devices of intermediality through a wide range of case studies. It addresses major theoretical issues and highlights the relevance of intermedial relations in film history, mapping the theoretical field by outlining its main concepts and the research avenues pursued in the study of cinematic intermediality, including the most recent approaches and methodologies. It also presents some major templates of intermediality through various examples from world cinema, including closer looks at films by auteurs like Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, and Agnès Varda. Supplemented by three new chapters dealing with phenomena which came into view since its first publication, the revised and enlarged edition of this ground-breaking volume will serve as a useful handbook to clarify key ideas and to offer insightful analyses.

En otoño de 2017, me reuní a conversar con Federico Windhausen y Álvaro Vázquez Mantecón en el marco de la VII edición del Coloquio Universitario de Análisis Cinematográfico, "El cine en el campo expandido", sobre nuestras investigaciones alrededor de la obra de Teo Hernández.

Even in the day and age of converged media, discussion regarding media industries’ regulations is one that takes a while to uncover since it encompasses various fields with their own individual perspectives. However, in order to do so, discussion of narrower case studies are necessary in order to understand different perspective from different sides of the phenomenon of media convergence. Even though nowadays, media seemed to emerged into one unity which provides people with entertainment, knowledge, and community, it is really a combination of different fields and industries. Cinema is one of the fields that is widely effected by media convergence, and for the purpose of giving an in depth analysis regarding media convergence, this essay would focus solely on the film industry and the challenges they face as a result of the change.

Made by British avant-garde filmmaker Derek Jarman about the life of the celebrated 17th-century Italian Baroque painter, Caravaggio (1986) makes use of tableaux vivants in order to create both a biopic and a thinly veiled semi-autobiographical movie. Jarman appropriates the events of the life of Caravaggio and presents them in a way that straddles the line between historical accuracy and artistic leeway. This prompts the question of why did Jarman choose to depict the tableaux in the way that he did? More importantly, how does intermediality affect the transformation of the paintings into tableaux vivants? The aim of this paper is to argue that Jarman’s choices were driven by his idiosyncratic ideas and to explore the web of connections between the tableaux vivants and the paintings.

In Moveyhouse (1965), Claes Oldenburg instructed the audience to stand in the aisles of a cinema. While the projector ran empty, performers in the seats enacted typical film-going behaviors, such as laughing, smoking, or eating popcorn. Building on both the experimental cinema of Stan Brakhage and the theater work of John Cage, Oldenburg’s critique of film is part of a much larger twentieth-century intellectual tradition: the belief that art, and, by extension, technology, can lastingly alter the way viewers experience reality. This essay argues that Oldenburg’s relationship with film is indicative of an avant-garde aesthetic of ameliorative renewal in the postwar period that seeks to combat feelings of alienation and distance—a visionary side of his art long neglected.

La obra cinematográfica de Luis Buñuel ofrece un sorprendente dispositivo de deconstrucción del espacio fílmico. El cineasta aragonés parte de la creación de un nuevo espacio, en consonancia con las vanguardias artísticas contemporáneas, como medio visual para desenmascarar las contradicciones de la moral burguesa. Este punto de partida nos permitirá estudiar su propuesta de una arquitectura espacial propiamente cinematográfica, que alcanza su manifestación más plena en sus ultimas películas. A lo largo del artículo, analizaremos el modo en que el cineasta aragonés disecciona el espacio cinematográfico mediante los procedimientos del surrealismo, así como el retrato de una arquitectura popular en su obra documental y sus ecos neorrealistas; la significación del espacio burgués y su moral, y finalmente, su concepción de una 'antiarquitectura' religiosa. La conclusión nos conducirá́ a una definición de la arquitectura en el cine de Buñuel como un espacio mental, un habitáculo que no se define por sus limites sino por sus discontinuidades y ambigüedades.

This paper contextualizes the Stanley Kubrick exhibition, a worldwide exhibition tour program dedicated to showcasing the complete oeuvre of the filmmaker Stanley Kubrick, within 'post-cinematic' conditions. Since the mid-1990s, the formal and experiential components of the cinema in the 20th century have increasingly become displaced from the traditional apparatus and site and 'relocated' within new technological and institutional platforms, and museums have become one of those new sites for content consumption. The paper discusses both the limitations and possibilities of the exhibition as it is considered to represent the migration of cinema into the art museum context as one salient phenomenon of post-cinematic conditions. The Kubrick exhibition is explored to uncover the underlying tensions of the 'exhibition of cinema' as a key trend of major international museums, between the movie theater as black box and the art museum's exhibition space as white cube. It considers the difference between these two institutional platforms and their conceptions of objecthood, artifact and the temporal economy of the viewing experience. The author argues that this event succeeds in realizing the possibilities for revivifying three constants of cinema: film auteur, cinematic apparatus, and intermediality. The ambivalence demonstrates that while the museum's exhibition of cinema inevitably removes some of its ontological essences, it also preserves and revivifies others.

""In the cinema, a group of images that do without movement is regarded as contradictory due to the widespread idea that cinema is, indeed, “the art of movement”; however, they still belong to films. This study undertakes a formal approach to immobility both in and of the film image. It presents various examples taken throughout film history, from which the specific characteristics of these images are considered, as well as their role in films and different relationships they have with other arts. The forms of stillness in film are classified in four groups: freezeframe; filming of photography, or related objects such as paintings; filming of a motionless world; and extreme slow-motion. The techniques used to produce them and their appearance on screen lead to a number of aesthetic and theoretical connections amongst the groups. Additionally, but invariably determined by the duration of the film image, they connect with stationary art forms (like photography, painting or slides). Filmic stillness is open to take part in the structures and mechanisms of meaning of very different kinds of discourses, in which it can have variable presence and importance. This is why these film forms should be regarded on an equal basis with the moving image, which would be a filmic possibility as much as immobility is.

La consideración extendida de que el cine es el “arte del movimiento” ha granjeado un aire de contradicción a un conjunto de imágenes que prescinden de esa característica y, no obstante, forman parte de las películas. En el presente trabajo se emprende un acercamiento formal a la inmovilidad en y de la imagen cinematográfica. A partir de diversas manifestaciones de estas imágenes a lo largo de la Historia del Cine, se valoran sus características particulares, su encaje en los films y ciertas relaciones con otras artes. Las formas de la inmovilidad quedan distribuidas en cuatro grupos: congelación de la imagen, filmación de fotografías (u otros objetos relacionados, como pinturas), filmación de un mundo inmóvil y ralentí extremo. La técnica por la que han sido producidas y el aspecto que demuestran en pantalla motivan determinadas relaciones, estéticas y teóricas, entre dichos grupos. Asimismo, siempre bajo los condicionamientos de la imagen durativa, se asocian con otras artes estáticas (fotografía, pintura, diapositivas…). Las formas de la inmovilidad se ofrecen abiertas a participar en las estructuras y mecanismos de significación de los muy distintos discursos en que aparecen y en los que pueden tener muy diversa presencia e importancia. Por eso se reivindican como formas fílmicas en igualdad de condiciones con la imagen en movimiento, que sería una posibilidad del cine tanto como la inmovilidad."

Disponible en papel en Bilbao (Universidad del País Vasco (UPV/EHU), campus de Leioa), Barcelona (Museu d'Art Contemporani de Barcelona, MACBA) y Madrid (Museo Nacional Centro de Arte Reina Sofía, MNCARS)"

This research report will show how fragile one person is and the perspectives of Idiographic and Nomothetic personality theories affect two men having a dinner conversation, by using option A, as defined by Dr. Hershman, Santa Rosa Junior College  Professor. According to the textbook,  Personality and Personality Growth (Sixth Edition)
by Robert Frager and James Fadiman who defines Nomothetic as the "study of personality in order to develop regular laws of behavior" (Frager et al., and Idiographic as "an approach which see's to understand personality through a rich and detailed study of an individual's life" )(Frager et al). In My Dinner With Andre, two men Andre Gregory and Wallace Shawn engage in a dinner conversation, regarding events in Gregory's life over a five year  period, which shows characteristics defined through literal definitions of Idiographic and  Nomothetic personality theories.

Introduction and detailed list (about 40 films) of the retrospective that Valentine Robert curated at the Pordenone Silent Film Festival 2017. The programme was shaped by the direct comparison, on the screen, between (most of the time forgotten) paintings and early films suddenly disclosed as their living reenactments.
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Introduzione ed elenco dettagliato (circa 40 filmati) della rettrospettiva curata da Valentine Robert alle Giornate del cinema muto 2017. Questo programma basato sul confronto diretto, sullo schermo, tra pitture (il più delle volte dimenticate) e filmati delle origini, di colpo divulgati come loro viventi rievocazioni.

[bilingual | bilingue]

Mit einer N achbemerkung über Greenaways Kontrakt des Zeichners Kurze Vorbemerkung über das Erzählen im Bild Immer wieder verhandelt die Kunstwissenschaft, inwieweit eine bildliche Darstellung, besonders aber die Malerei erzählen könne wie ein literarischer Text. Eine Verdichtung zeitlicher Abläufe in Erzählungsmomenten, die vorund rückwärts auf den Handlungsraum einer von Ursache und Folge bestimmten Ereigniskette verweisen, bildet eine Grundlage für die Einlösung dieses Anspruchs, rückleitbar bis auf die frühneuzeitliche Prärogative des utpictura poesis. Umgekehrt widerstrebt der Umsetzung fortlaufender Bilderzählungen das Ideal einer Einheit von Zeit und Raum, die der mittelalterlichen Praxis konsekutiver Anlagerung von Neben-und Hauptszenen, von Vor-und Nachgeschichten ein Ende gemacht und erst ermöglicht hatte, daß ein Betrachter sich als heimlicher Beobachter eines momentanen, wenngleich vergangenen Geschehens fühlen kann. Wie ausführlich auch immer in der neuzeitlichen Malerei die Anspielungen auf tiefere und weitere Bedeutungen erscheinen mochten: In dem Maße, in dem die Kunst zu einem in sich vollständigen Bild der Außenwelt in deren Situationsgebundenheit gelangte, ging sie der Rahmenformen verlustig, die während des Mittelalters noch die sequenzielle Gliederung der Einzelszenen ermöglicht hatte und für ein »weil, da, indem«, für ein »während, ehe, bevor«, für ein »wenn, als« einstehen konnten, um derart den Fluß erzählter Zeit von der Quelle zur Mündung zu begleiten. Nur wo seit der Durchsetzung einer Einheit von Raum und Zeit in der Malerei dem dargestellten Sujet ein Text zugrunde liegt und als bekannt vorausgesetzt werden kann, erweckt seither ein Gemälde noch den Anschein fortlaufender Erzählung. Der Betrachter identifiziert und rekonstruiert dort jedoch eher, als daß er Neues berichtet bekäme. Worüber die bildliche Schilderung keine schriftliche Quelle aufgerufen wird, ist er vollends auf die eigene Phantasie gestellt. Um ein Beispiel zu geben: Der Reiz eines Genrebildes von Gerard ter Borch, auf dem drei Personen in eine nicht auf Anhieb verständliche Beziehung zueinander treten, liegt nicht darin, daß wir vom Künstler eine Geschichte erzählt bekämen, sondern gründet ganz im Gegenteil auf unsere Ahnung von der Existenz eines weiterführenden erzählerischen Zusammenhangs, in den wir aber nicht eingeweiht sind. (Abb. 1) Die Neugier wird durch die Schilde-

Robert Bresson did not only distribute musical excerpts and sounds in his films, but also often conceived the whole film running in a general rhythm, including the repetition and variation of shots in their contents and length. David Bordwell (1985) considered Bresson's films as examples of the style centred "parametric mode of narration." More than that, after Jean-Louis Provoyeur (2003), we consider that many shots in Bresson's films have a characteristic of "denarrativization," a conception based on musicality, devoid of representational constraints. One example is the tournament sequence in Lancelot of the Lake (Bresson, 1974), in which visual and sound elements are repeated as a "cell" with variations in length, angle of shot and with addition or suppression of elements. The author also analyses some aspects of The Trial of Joan of Arc (1962), in which the rhythmic sensation is created by the procedure of repetitive alternation of image, speech and space. 1

Be Kind Rewind, as spoken by the film’s title, one may understand the trick that hides behind as Rewind is also associated with the same consonance Remind telling us a film that shares the collective memory of the public. The concept of the Society of Spectacle is brought forward by Guy Debord in 1970s, which he sheds lights on the class alienation, commodification of cultural products (Debord, 1967) as well as the role of mass media’s metamorphosis in staging the so called “reality” on TV, is considered to be a mainstream channel in 1970s-1980s for people to obtain the news and enjoy entertainment. With this concept, we draw the central theme of discussing this with the film Be Kind Rewind in which it stages how the antique video rental store is forced to be demolished and the adventure that the new generation help renew the product and share the collective memory, going back to the theme of commodity fetishism (Jappe, 1999). The sense of nostalgia as well as the conflict of urbanization and modern development makes it an echo to the concept of the spectacle of making the class alienated through the commodification process of video rental store and also alienate the old people from the rapid development of the modern city. With the revival of reshooting the film with no budget, it connects closely to the concept of the work of art in the age of mechanical reproduction that Walter Benjamin put forward that the unique existence of the work of the art determined the history to which it was subject throughout the time of its existence (Benjamin, 1955). Most importantly, while we watch this film, the real life example that happens in Hong Kong media industry would be Asia Television (ATV) that they stage their "Rescue Our ATV Show" in order to save their company by attracting the "potential investors". The television under such circumstance is not limited to provide information and showing the greatest entertainment programme but becomes a spectacle to ask for money yet not in a glamourous and commodified manner. In light of this, this research is going to explore how mechanical reproduction alienates our society from the real life and how commodification of cultural product especially in Hong Kong TV industry make themselves become the spectacle in this day and age by carrying out content and textual analysis of the above mentioned cases. It would offer a theoretical contribution in which society of spectacle not only brings the success of TV industry but also actually polarizes the TV industry into the "mass" product and only through exposing its weakness to the audiences as to save the reputation and attract upcoming investors. Keywords: ATV, Commodification, Class Alienation, Mechanical Reproduction,

How century-long arguments about The Birth of a Nation have profoundly shaped ideas about film, race, and art. Forthcoming from University of Texas Press, July 2022
(File below is cover only. Book is not available for download, but is available for pre-order from UT Press).

Few painters have had as many films made about their lives as Vincent van Gogh. The interest in his story is due in part to the mystery surrounding his last days, in Arles, France. It is thus no coincidence that all the biopics about the Dutch painter focus on this stage of his life, including the recent works Loving Vincent (2017), an animated film by Dorota Kobiela and Hugh Welchman, and Julian Schnabel’s At Eternity’s Gate (2018). A comparative study of these two feature films, representing two different aesthetic and dramatic approaches, is conducted in pursuit of the two objectives of this paper: to identify the conventions of the subgenre of the artist biopic; and consequently, to analyze how both films reflect on the artist’s creative practice in order to determine whether the film camera is in fact capable of capturing the brushstroke and the mystique of the genius.

Tras la realización de dos largometrajes sobre la imagen, la memoria y el significado de la representación, como 'El espíritu de la colmena' (1972) y 'El sur' (1982), Víctor Erice llevó a cabo un interesante experimento creativo en estrecha complicidad con el pintor Antonio López. En 'El sol del membrillo' (1992), ambos artistas profundizaron en las raíces de sus respectivos procesos creativos, en un fascinante ejercicio de introspección y reflexión sobre las peuliaridades de la pintura y el cine. A través del estudio de los procesos técnicos que diferencian estas dos artes, plantearon las bases de un debate teórico que caracterizó gran parte del cine de final de siglo: los difusos límites entre la realidad y la ficción, y el nuevo estatuto de las imágenes en un mundo que parece desconfiar del poder del arte para representar y transformar el mundo.

Sinemanın neden ve nasıl 7. SANAT olduğu konusunda bir konuşma yapacağım.
Yedinci Sanat tabirinin yaratıcısı Ricciotto Canudo'nun erken dönem sinema kuramına referans vererek çözümlemelerde bulunacağım.
Tarih: 8 ARALIK 2021 ÇARŞAMBA
Saat: 13.00.
Yer: Düzce Üniversitesi Tıp Fakültesi Konferans Salonu

'Afterimage' (Powidoki, 2016), the last feature film of the Polish filmmaker Andrzej Wajda, resumes the main concerns of his entire oeuvre, such as freedom, national identity, collective memory or the role of youth in the building of a promising future. In this vein, many sequences of 'Afterimage' present narrative, thematic and aesthetic references to Wajda's preceding films.

De Tábara (2003), un retrato institucional de uno de los pintores mas reconocidos del Ecuador, a Persistencia (2016), un film experimental que medita sobre el trabajo de un artista y amigo, el cineasta guayaquileño Fernando Mieles ha recorrido, como narrador y cineasta, una trayectoria marcada por transformaciones clave. Este artículo se enfoca en los films sobre arte realizados por Mieles para mostrar cómo este género particular y un diálogo permanente con otros artistas le han abierto la oportunidad de explorar una amplia gama de posibilidades de realización cinematográfica, que oscilan entre el documental y la ficción, entre la escritura y el error. Con este texto sobre el trabajo de Fernando Mieles, uno de los cineastas más prolíficos del país, la autora espera contribuir a la escritura académica sobre el cine ecuatoriano, particularmente en el campo poco explorado del cine sobre arte.//

From Tábara (2003), an institutional portrait of one of Ecuador’s most well-known painters, to Persistencia (2016), an experimental film which meditates on the work of a fellow artist and close friend, filmmaker Fernando Mieles has gone through many key transformations as a storyteller and filmmaker. This article focuses on Mieles’ films on art to show how this particular genre, and a permanent dialogue with fellow artists have allowed Mieles to explo- re different possibilities of filmmaking: between documentary and fiction, between scripted scenes and so-called “mistakes”. With this text about the work of Fernando Mieles, one of the country’s most prolific filmmakers, the author hopes to contribute to academic writing on Ecuadorian filmmaking, especially concerning films on art.

Cineasta, escritor cinematográfico, programador incansable de todo tipo de eventos relacionados con los tres campos de su predilección, el cine, el arte en general y la cultura vasca, definir como polifacético a José Julián Bakedano no sería sino recurrir a un tópico. Durante muchos años desde cualquier tipo de instancias, oficiales o no, JJB ha desarrollado una impagable tarea de animación cultural (paciente, insistente, como la gota de agua que poco a poco busca abrirse camino en la roca de la indiferencia) sin la cual nuestra vida cotidiana hubiera sido mucho más pobre. Y de paso haciendo visible que en el campo de la cultura los distintos territorios (de la creación a la difusión) están profundamente interconectados y que tender puentes entre ellos es una tarea fundamental.
Por eso la definición que mejor cuadra a JJB es la de hombre de cine que, trascendiendo los límites de una profesionalidad restrictiva, ha convertido la relación con el arte en una pasión vital. Es a esta pasión a la que ahora se quiere rendir homenaje.

Disponible en papel en Bilbao (mediateka de Azkuna Zentroa), Barcelona (biblioteca de la Universidad Pompeu Fabra, UPF), Madrid (Biblioteca y Centro de Documentación del museo Reina Sofía), Pamplona (Universidad de Navarra) o Vitoria (biblioteca del Artium).

Disponible online: https://issuu.com/azkunazentroa/docs/bakedano_sin_pausa._etenik_gabe?e=19151064/38730544

Vilayanur S. Ramachandran and William Hirstein are the authors of the concept of a work of art understood as an exaggerated stimulus in the creative process. The aim of art, according to them, is (a) to show the essence of something in a perceptually accessible way, and (b) to evoke a strong reaction from the recipient. Scientists say that the aim of art is not to perfectly reproduce reality, but to present the very essence of an object, scene or event by exaggerating its most characteristic features, while
ignoring non-essential features. The effect of this treatment is a super stimulus, which is a supernatural stimulus that does not exist in the real world. Researchers have proposed seven universal – evolution- arily and culturally – neurological laws of aesthetic experience in relation to the visual arts (painting and sculpture). I propose to extend the tool apparatus of neuroaesthetics from the area of unimodal arts to a work of film art. It is an interesting tool for research into film aesthetics and masterpieces. In this paper, I will discuss these laws and make a representative analysis of them in a visual case study of Michael Almereyda’s film Nadja (1994). The main goal of my work is to show the stricto naturalistic position. Man is not aware that the first stages of cognitive perception have a significant impact on his interest in art, what he pays attention to, and on aesthetic experiences on a sensual, unconscious level. It is an interdisciplinary attempt to provide consistency of research approaches in the humanities with the naturalistic one in the area of natural sciences, which shows that on some levels we are very similar to each other and only in the process of ontogenesis do we acquire individuality – that we are governed by universal laws, not only those related to our individual interests and tastes.

Chinese cinema has a long history of engagement with China’s art traditions, and literati (wenren) landscape painting has been an enduring source of inspiration. Literati Lenses explores this interplay during the Mao era, a time when cinema, at the forefront of ideological campaigns and purges, was held to strict political guidelines. Through four films—Li Shizhen (1956), Stage Sisters (1964), Early Spring in February (1963), and Legend of Tianyun Mountain (1979)—Mia Liu reveals how landscape offered an alternative text that could operate beyond political constraints and provide a portal for smuggling interesting discourses into the film. While allusions to pictorial traditions associated with a bygone era inevitably took on different meanings in the context of Mao-era cinema, cinematic engagement with literati landscape endowed films with creative and critical space as well as political poignancy. Liu not only identifies how the conventions and aesthetics of traditional literati landscape art were reinvented and mediated on multiple levels in cinema, but also explores how post-1949 Chinese filmmakers configured themselves as modern intellectuals in the spaces forged among the vestiges of the old. In the process, she deepens her analysis, suggesting that landscape be seen as an allegory of human life, a mirror of the age, and a commentary on national affairs.

Basuki Resobowo (1916-99) is known primarily as a painter, activist and head of Lembaga Kebudayaan Rakyat (Lekra, Institute for People's Culture). He was affiliated with left-wing politics during Sukarno's Old Order (1945-65) and first entered the film industry in the 1940s when he played the role of Basuki in Jo An Djan's film Kedok Ketawa (1940). During the Japanese Occupation (1942-45), Resobowo was part of Keimin Bunka Shidoso (Culture Centre). Literature on Resobowo's artistic practice has mostly referred to his background in painting. However, in the 1950s, he joined Perusahaan Film Negara Indonesia (Perfini) as an art director and scriptwriter, making seven films, including Darah dan Doa (Blood and Prayer) in 1950, which is regarded as the first film nasional (national film). This article, while devoting some space to Resobowo's overall career, chiefly endeavours to revisit the early Perfini films and examine the influence of Reso-bowo's ideas about art and theatre on cinematographic mise-en-scene. Previous studies of  lm nasional have concentrated solely on the narrative aspect of these  lms, and their visual qualities have been rarely mentioned. With an in-depth reading of Per ni  lms, this article shows how Resobowo’s multidisciplinary background and ideological inclinations towards realism made a signi cant contribution to the  lmic reality made by Perfini.

The aim of this chapter is to demonstrate how Twin Peaks: The Return hints at the exhaustion of contemporary television series format while simultaneously regenerating it and inviting the audiences into new modes of audiovisual communication. A special focus falls on the affinity between The Return and an early 20th-century art movement of Suprematism.

Filip Lipiński ‘CZYNIĆ WIDZIALNYM’. FILM JAKO POSZERZONE, WIRTUALNE POLE DZIEŁA SZTUKI

Artykuł stanowi propozycję odczytania wybranych polskich filmów o sztuce (m.in. Wielość rzeczywistości Leona Chwistka, reż. R. Waśko; Ślad, reż. H. Włodarczyk; Sen i Obraz, reż. B. Dziworski; Bykowi chwała, reż. A. Papuziński) jako specyficznie pojmowanego laboratorium dzieła sztuki. W środowisku filmowym dochodzi do interpretacyjnej wizualizacji jego poszerzonego, wirtualnego pola, czyli czynienia widzialnym i „sprawdzania” tego, co dotychczas pozostawało w sferze intuicyjnego responsu, dyskursywnie eksplikowanej, interpretacyjnej projekcji ze strony widza/historyka sztuki czy też domniemanego horyzontu wyobrażeniowego twórcy. W pierwszej części artykułu autor zakreśla teoretyczne przesłanki takiego myślenia o typie „dokumentu kreacyjnego” w obszarze tego gatunku oraz wyjaśnia swoje rozumienie tytułowych pojęć „poszerzonego pola” oraz „wirtualności”. Kolejne dwie części tekstu stanowią analizę wybranych filmów ze szczególnym uwzględnieniem dwóch problemów: wizualizacji „życia” oraz „nieświadomości” dzieła sztuki.

m 1979, quando percorria a Itália à procura de locações para Nostalgia (Nostalghia, 1983), acompanhado de Tonino Guerra, seu companheiro de viagem, roteirista e amigo, Andrei Tarkovski viu pela primeira vez a Madonna del Parto, o monumental fresco de Piero della Francesca [fig. 1]. "Me alegra muito saber que a Madonna del Parto provavelmente aparecerá no filme. Porque é tão bonita. Tão bonita."confessa o colaborador de longa data de Michelangelo Antonioni ao hóspede russo, em Tempo de viagem (Tempo di viaggio, 1983). Enquanto Tarkovski folheia um livro de réplicas do mestre renascentista, o poeta italiano prossegue sua consideração: "Me preocupei um pouco quando vi estas reproduções. Olhe todo esse vermelho, não está aí. (...). Portanto, não creio em reproduções de pinturas, não creio na tradução de poemas. A arte é muito ciumenta. Você deve procurá-la em casa." Esta inquietação quanto a singularidade de cada arte não era, todavia, algo isolado ao pensamento de Tonino, mas encontrava intensa reverberação nas meditações de Tarkovski. Em Esculpir o tempo, reiteradas vezes o realizador russo reivindicou para o cinema o direito à autonomia, argumentando que as experiências de adaptação, bem como a interferência de outras expressões artísticas no meio fílmico tendem a comprometer gravemente a especificidade cinematográfica: Isso pode ser visto, por exemplo, na influência das artes visuais sobre o cinema,

"Мне в жизни нравится сама жизнь во всех ее проявлениях.
Сама жизнь – это уже подарок…” ФЕСЕНКО /

Eric Kohn of indieWIRE admired Grigory Fesenko's "body movements" and "precise details" through gestures.  Grigory Fesenko is the lead actor in "The Tribe" (Ukrainian: Плем'я, Plemya) a 2014 Ukrainian drama film written and directed by Myroslav Slaboshpytskiy. The film is entirely in Ukrainian Sign Language with no subtitles.

"The Tribe is a tour de force and it knows it. The scenes don’t seem to have been directed so much as arranged on a platter. And, given the prevalence of revenge in the film’s plot, it should be said that they’re served up absolutely ice-cold." – Sight & Sound. Jessica Kiang of The Playlist gave the film an "A-" rating and wrote, "It might sound glib, but it's the literal truth: "The Tribe" left us speechless."
The Ukrainian film "The Tribe" was widely admired and considered a contender for the Academy Award for Best Foreign Language Film at the 87th Academy Awards.“
from  "ИНТЕРВЬЮ: ФЕСЕНКО "
In conversation with Grigory Fesenko, the lead actor in the film "The Tribe"  by Vladimir Alexander Smith /               ABSTRACT

Barbro Schulz-Lundestam et Rachel Stella présentent un visionnage de Pull My Daisy accompagné de documents d’archives. Il s’agit surtout d’entretiens vidéo que Barbro Schulz-Lundestam a enregistrés dans l’atelier d’Alfred Leslie, au gré de différentes enquêtes documentaires.

The following case study seeks to explore the specific portion of Sandoz cinematic archive that can be found within the Novartis Archives – the body of films concerned with a psychiatric theme, and especially those film works dealing with altered states of consciousness.

Jocelyne Saab’s first feature film, A Suspended Life, tells the story of a teenage girl whose family found refuge in an abandoned palace in Beirut. Jocelyne Saab’s mansion was initially supposed to serve as film set, but it was destroyed on the first days of the Israeli invasion of Lebanon in June 1982. Its ruins appear in the opening view of Beirut My City, a documentary shot during the siege of the Lebanese capital that lasted until the evacuation of the Palestinian forces, 21 August 1982.

This paper proposes to read Beirut My City and A Suspended Life as a diptych. The first, a documentary, is a prequel of the second, which is a fiction. The second, which was produced in a period of lull, includes war rushes from the first. Both pieces take an abandoned house as a point of departure and deploy into the urban territory of West Beirut. Thus the city appears as an enclosed zone – corresponding to the French term “huis clos” – like the stage of a tragic theatre play. Death is omnipresent, from the graphic images of corpses in Beirut My City to the killing of Karim, a real person in the same film who transmutes into the major male character of A Suspended Life. Saab counterbalances the macabre with Fellinian street scenes in Beirut My City over which Roger Assaf’s voice-over enlightens life in the besieged city as a possible utopia while A Suspended Life plot is an improbable and non-politically correct love story in the middle of devastation.

Besides their existence as acts of resistance and invaluable documents for a critical period, these films question the relation between life, death and the image and the cadaver, three decades after Blanchot’s relections in The Space of Litterature.

Stanya Kahn has always been politically engaged. Recently, on her Twitter and Instagram accounts, she has consistently posted and reshared vital information for people protesting police murder, brutality, and structural racism. Moreover, she and her son Lenny were out in the streets of LA protesting after the murder of George Floyd; and they, like many of the other protestors, were physically and mentally vulnerable in the face of a militarized police force.

CALL FOR PROPOSALS Continuing our series of conferences dedicated to rethinking intermediality in contemporary cinema and visual culture, we propose to initiate a discussion around aspects of intermediality that may unfold from the perspective of the picturesque. The much-debated notion inherited from the art theories of the late 18 th century originally denoted both an aesthetic quality (something pleasing to the eye situated between the serenely beautiful and the awe-inspiring sublime) and a particular visual impression (something that looks like a picture in nature). It anticipated and later became deeply entangled with many of the ideas of Romanticism, of modernity and postmodernity by shifting the appeal of images from knowledge to imagination, sensation and mood, by applying the frame of art to life, or the frame of one art to another, and emphasising the abstract aesthetic value of a kind of pictured vision. Photography appropriated it as a strategy of so-called pictorialism and popular culture perpetuated it in various forms of spectacularization from the early dioramas and panoramas to today's ubiquitous digital screens through which we continually reframe our lives in picturesque images. The picturesque emerges therefore not only as a transversal concept in art history or visual culture, but also essentially connected to issues of intermediality and in-betweenness that we would like to bring into focus.
We suggest the following topics (but welcome any relevant approach to the issues outlined in the CFP):

˜ Cinema and the picturesque across time and media: the history and poetics of the picturesque in film
˜    The tableau vivant as a visual attraction between high art and popular culture, and in-between painting, photography, sculpture, theatre and film
˜ Synaesthetic pleasures: picturesque impressions in conjunction with tactility, soundscape and music
˜ Picturesque landscapes in slow cinema, slow TV and experimental films
˜ Media reflexivity and the picturesque in contemporary documentary and essay films
˜ Moving image installations and the immersiveness of picturesque images
˜ The picturesque world and the ruins of civilization: nature versus culture in images of the anthropocene
˜ Painterly images and remediations in heritage films and bio-pics
˜ Gender and postcolonial perspectives of the picturesque intersecting with intermediality
˜ The picturesque in-between the analogue and the digital, the natural and the artificial
˜ Theorising what “looks like a picture” today
˜ The intermedial visual pleasures of VR
˜ The picturesque and the spectacular in video games