Montage

Molto spesso descritto come una riflessione sulla storia traumatica del Novecento, il cinema di Jean-Luc Godard è stato capace di squadernare a più riprese l’atlante geografico, costringendoci a concepire la pratica del montaggio come un incessante accostamento di luoghi diversi. Questo articolo cerca di ripensare il suo cinema come un grande laboratorio di montaggio, dove tanto la componente spaziale dell’immagine quanto quella geografica e politica sono chiamate in causa. Parlando di montaggio, si riprende dunque la nozione di “anacronismo” e quella di “anatopismo”, alla quale non sembra essere stato ancora assegnato il dovuto rilievo teorico.

This paper—a conversation between scholar/practitioners working separately on the mediation of bodies—is an interrogation into practices of acting for stage and for camera, and the ways that practices for the theatre can be used in training actors for film. Challenging the essentializing metaphor, “acting for camera,” we engage strategies for dislocation of the sovereign seat of the director—a point of focus toward which bodies are trained and become entrained. Rather than accept habitually repeated logics of representation and the subjectivities they tend to produce, we develop practices that replace actor with player. Drawing on various inflections of the physical action from divergent Western theatrical training traditions (Stanislavski, Grotowski, and Brecht), we have developed strategies for actors and a framework for thinking about what “works” for the camera and what doesn’t. These strategies pull the camera into practice and process as an active player rather than seating it as an apparatus of capture to be coped with by a performer on one side and a director/crew on the other. The player plays with the camera rather than for a future audience it represents. Much of the paper draws from workshops where we used theatrical devising techniques and games with filmmakers and actors. We take as a given that most actors-in-training in the West already have a relationship to camera that brings along habits, ways of seeing, and entanglements that require examination as part of rehearsal and performance processes. We pull the camera into the making process, not as a capture device or a stand-in for a future audience, nor as “content,” but as one of the elements of mise-en-scène and the games that players use to produce it. Actors become filmmakers and vice versa. The processes we found emerging unsettled the habitual narrativizations arising from the actor-filmmaker-editor continuum.

André Bazin, un grand ami des bêtes, attire notre attention sur des films où l’animal figure en tant qu’« autre » ontologique le plus remarquable de l’homme. Dans ces films de fiction, l’animal apparaît comme une métonymie pour la minorité sociale qu’une communité devrait accepter ou abandonner. Cette socio-ontologie de l’animal diégétique s’étend à l’esthétique bazinienne du ‘montage interdit,’ quand il aborde l’énonciation filmique semi-documentaire où la différence ou l’altérité de l’animal doit être préservée à travers la continuité transparente. Bazin y voit une série de chiasmes entre le réel et l’imaginaire, entre le savoir de l’artifice et la croyance en l’illusion, en transférant son intérêt ontologique de l’image photographique vers le découpage cinématographique. En outre, il envisage la question radicalisée dans des documentaires d’aventure pure : le metteur en scène se situant dans l’environnement peuplé d’animaux souvent invisibles, un témoinage objectif du danger peut devenir inséparable d’une participation subjective au même danger, qui rend ce reportage si difficile que des images finales ne montrent presque rien. Donc, le cinéma ne peut pas être un index de la présence d’un objet ; cet échec même prouve toutefois son essence en tant que ‘para-indexicalité,’ indiquant le réel inreprésentable, la jouissance, la mort. L’animal, alors, ne se distingue pas de l’environement, comme un ‘phasme’ dont l’apparence n’est qu’apparition fantôme, avec le potentiel d’attaquer l’homme et de l’incorporer à l’abîme ontologique. Pour Bazin, les films d’aventure poursuivent cet animal entre le néant et la subjectivité humaine.

Metropolis  and  Our  Uncanny  Reality
Both Crary and Burch discuss the varying degrees and progression of different cinematic techniques and their effects on entertainment itself and the viewer. The progression of monocular and one-dimensional film into a more uncanny and three-dimensional experience creates disorientation between the subject and the viewer as experienced in Lang’s 1927 version of the acclaimed film Metropolis .

In the wake of the so-called postmodernist turn in literary studies and criticism, Steinbeck’s The Grapes of Wrath has been subjected to a major interpretative revision that has reoriented the focus solely on the chapters dealing with the Joads while leaving out those that provide a detailed analysis of larger socioeconomic forces at work. The latter are laid out in documentary interchapters that constitute the backbone of dialectical montage, a narrative method used by Steinbeck to create a consciousness-raising novel. Documentary interchapters, as this paper argues, shed light on the integrated forms of systemic exploitation that agricultural workers face in capitalism. Overlooking the significance of documentary interchapters results in a reductive reading of Steinbeck’s classic, which in turn also undermines its consciousness-raising potential in our era.

Sergejaus Eizenšteino veikalas "Montažas" (1937) pateikia kino montažo teoriją, padarusią didžiulę įtaką pasaulio kinui ir kino teorijai, taip pat montažo priemonių bei jų analizės sąvadą. Eizenšteinas plėtoja savo kino montažo teoriją kitų menų kontekste ir patekia pavyzdžius iš dailės, architektūros, literatūros, žiniasklaidos sričių, aptikdamas montažinį mąstymą Vakarų, Rytų ir rusų meno istorijoje nuo pirmykščio laikotarpio iki avangardistų. Knyga sudomins kino, vizualumo, dailės, kultūros istorijos specialistus ir studentus, taip pat visus besidominčius šiomis sritimis.

Este trabalho examina as relações que se estabelecem entre a imagem e memória quando inclinadas por um primas pós-moderno do pensamento. Essas relações aparecem no filme 'Imagens do mundo e inscrições da guerra' (Bilder der Welt und Inschrift des Krieges, Alemanha, 1988), de Harun Farocki, no qual analisamos algumas de suas estratégias visuais.

Bu kitap kurgucu olarak çalışmayı düşünen veya kurguya yeni başlayan kişiler için yazılmıştır. Bir yazılımın anlatıldığı çalışmalarda çoğunlukla temel bilgiler kabaca örneklenmektedir. Bu nedenle birçok kişi okullara veya kurslara yönelmektedir. Öte yandan kurgu gibi disiplinleri öğrenmek için bireysel çaba ve deneyim gerekmektedir. Çalışmada, "Media Composer 8.6" yazılımı başlıklar altında incelenmekte ve yazarın sektörde edindiği tecrübeler çerçevesinde aktarılmaktadır. Kitaptaki konu başlıkları görsel uygulamalara dayanmaktadır. Ayrıca bir kurgucunun bilmesi gereken temel bilgiler de örneklenmektedir. Kurguya ilgi duyanlar için iyi bir başlangıç olması umuduyla...

In this article I apply film theory as an analytic prism through which to examine the ritual mechanisms of a particular kind of Islamic exorcism (al-ruqya al-sharʿiyya). I show how these exorcisms operate as a ritual montage that conjures the absent presence of al-ghayb—a hidden world of power that only God can see in its totality and to which the possessed patients and the jinn spirits must succumb. These exorcisms thus provide healing, not in the sense of immediate "well-being" or "relief from pain" but in the sense of moral witnessing, an opportunity to testify to the limits of human seeing and action and to the ways in which invisible and divine forces give shape to the tangible world.

Die Überlegungen meines Beitrags fußen auf der Annahme, dass zwischen den Denkarten, Schreibweisen und Produktionsformen der Realisten Kracauer und Kluge interessante Ähnlichkeiten und Korrespondenzen bestehen, die jedoch bisher kaum beachtet oder erforscht wurden. Diese möchte ich im Folgenden anhand eines Aspekts nachzeichnen. Kracauer und Kluge orientieren sich als Anwälte des Besonderen an einer Darstellungs- und Forschungsform, die das Fragmentarische der Ganzheit, das Partikulare dem Universellen und die Konstellation dem System gegenüber vorzieht. Dieser anti-systematische Grundzug in ihrem Schaffen rückt die Frage ins Zentrum, wie das erkenntnistheoretische und ästhetische Gefüge eines Realismus gestaltet sein muss, der sich mit sozialer Realität zwar auf eine unsystematische, tentative Weise beschäftigt, dabei allerdings keinen Verzicht auf synthetische Interventionen oder, wie es bei Kluge heißt, »massenhaftes Unterscheidungsvermögen« leisten will.

As the poet's himself testified and as it has been widely proven by critics, William Carlos Williams' In the American Grain is a work largely composed by the technique of montage, joining and stitching together a great number of materials withdrawn from different sources and scraps cut from the author's own texts or someone else's writings. An image of ruins among overgrown weeds, like an untracked forest in the heart of the big city, can be seen as an image of the two poles of the field of tension within which literature creates itself. Besides, that same image can suggest how the new can be made by retrieving, selecting and reassembling the debris of antiquity. Thus William Carlos Williams, with In the American Grain, built his own literary tradition through the technique of montage, like Ezra Pound did with Malatesta Cantos. To identify Williams' sources is indispensable to reconstruct the methods employed by the poet to compose his work. After having identified some previously overlooked sources for «The Discovery of the Indies: Christopher Columbus», as well as for «The Discovery of Kentucky», the primary source of the latter chapter is looked at as an example of the way in which Williams sistematically employs the techniques of montage to compose his text. The complete analysis can be found in the original version of the present essay, published in Bibliomanie: Ricerca filologica, storia delle idee, e orientamento bibliografico, n. 19, ottobre/dicembre 2009, <http://www.bibliomanie.it/ archivio_numero_diciannove.htm>.

A dialectic theory of montage in the digital age.
The article outlines a theory of montage between the two poles of jump cut and match frame (or match cut), i.e. the jump in time and the jump in space. These two basic principles are applied to a number of films that don't work with the conventional editing technique of the invisible cut and therefore invent a sort of event montage.

A crime melodrama called as They Paid with Their Blood was the first movie that Osman Seden was behind the camera and his third film was The Flame of Vengeance which is an example of hybrid genre movie. The formal significance of this film which immingled two popular dominant genres of Turkish cinema (detective, melodrama) underlie in eclectic approach on aesthetics of editing. From the beginning to the end, the director who applied the continuity editing which is the hallmark of the film genre that is the bearer of the transparency aesthetics of classical Hollywood cinema (Institutional Mode of Representation) completely changes the editing style in the forty-seventh sequence of the film which consists of nine shots. Seden who uses three non-diegetic inserts which are not related to diegesis filmed as close-ups respects the visual aesthetics of the silent film through modern montage style.
The objective of this article to analyze aesthetics effect of Soviet Montage School on The Flame of Vengeance. Therefore, scope of this study has been narrowed down by explaining the eclectic editing style which is common to the film mentioned. The main question of the research has been determined in this framework: What is the contribution of this formal preference to style of the film, aesthetics and narrative strategy, which reminds the Russian director Sergei Eisenstein who deliberately distorts visual continuity and fluidity with montage of attractions theory and practice? The technical method of article is based on “sequence analysis”. Firstly, decoupage of the film (shots and sequences which compose the film will be classified) will be
mentioned; and then the detailed analysis of the forty-seventh sequence within the context of aesthetics of editing will be carried out through description, analysis and interpretation phases.

Tough one of the primary intentions of documentary consists in Representing Reality (Nichols 2001), the nature of factual audio-visual formats may not be equated with mimetic depictions of phenomenological 'reality' nor can they be reduced to unambiguously mediatized arguments. Rather the fascination of documentary as a "creative treatment of actuality" (Grierson 1932) precisely lies in the oscillation between presumable unequivocal modes of representing reality and its potential to negotiate various perceptions. This stimulating tension that is already both challenge and potential for linear documentary is exponentized in non-linear new media-based documentaries.

The article focuses on latest evolutions in this field taking one paradigmatic case – autopoetic Korsakow documentaries – as a test stone. Based on complex algorithms and opaque linking, Korsakow simultaneously presents a multiplicity of itineraries through the database and thus interpretations of the documentary material. Emerging 'meanings' can neither be mastered by the 'author' nor unequivocally interpreted by the users. Instead, different a-causal, a-teleological documentary experiences trigger polysemic patterns of associations.

This calls for a modification of the concept of documentary audio-visual 'text' as we are dealing with only ephemeral manifestations of virtual relations. Moreover, we witness a shift from 'documentary authorship' to performative authoring instance enabling individual experiences for interactive users. And it implies that also concepts of audiences need revision from interpreting receivers to co-creative participants who self-reflexively question their relation to media practices and their agency in daily life.

Thus new media documentaries do not only have an epistemologic potential that goes beyond the options of linear formats; rather, due to their autopoetic nature, performative dynamics and ambiguities, they bear an ontological quality of their own.

Keywords:
interactive documentary – New Media Documentary – Korsakow documentary – performativity – processuality – relationality – ambiguity – non-linearity – interaction – narration – indeterminacy – autopoisis – algorithms – SNU – authorship – complexity

This chapter offers a wide-ranging assessment of cosmopolitan interpretations of war in the European sentimental tradition. Taking impetus from Tolstoy’s reporting on the Crimean war, Gusejnova draws on the Russian formalists’ interpretation of his technique to reconstruct Tolstoy’s use of literary montage, which was later adapted in film by Sergei Eisenstein. The chapter then contextualises the history of this technique within genealogies of cosmopolitan thought on the one hand, and literary sentimentalism on the other. Drawing on works by Adam Smith and Stendhal, Gusejnova surveys some of the intellectual and literary techniques thanks to which cosmopolitan sentiments became widespread in eighteenth- and nineteenth-century European societies. The capacity to generate multi-sensory experiences of compassion through montage presents the case for a fundamental connection between mediated experiences of war and nineteenth-century ideas of cosmopolitanism. The chapter proposes that greater understanding between people was driven by the literary, visual, and sonic mediation of violent wartime encounters.

Le court-métrage Wanted (2011, 24’) de Ali Essafi s’efforce de combler trois manques, trois invisibilités de l’histoire du cinéma marocain, dont il a souffert dans sa propre construction personnelle en tant que cinéaste : il substitue en effet aux « images manquantes » de la répression politique des années 1970 au Maroc, les images méconnues, voire censurées, du cinéma marocain de la même époque, selon une forme de montage qui adapte celle inaugurée par Ahmed Bouanani avec Mémoire 14 (1971). Depuis, Ali Essafi poursuit cette entreprise polymorphe – qui passe autant par la réalisation de films de montage et d’installations d’art visuel que par l’animation d’ateliers ou de cycles. Ce faisant, il s’agit pour lui de poursuivre la démarche de passeur d’Ahmed Bouanani, en rétablissant la possibilité d’une transmission culturelle entre générations malgré les ruptures coloniales et post-coloniales, et en prolongeant ses recherches pour un cinéma dont les formes réactiveraient les pratiques de l’oralité traditionnelle.

Exposé de Marie Pierre-Bouthier donné dans le cadre de la journée d'étude "Kibrit, réactiver nos utopies collectives" organisée à Bétonsalon par Léa Morin et Francesca Masoero le 23 juin 2017.

This paper will focus on Woolf as a literary practitioner and on two humble activities of hers, photo-cinematography and printing, which deeply influenced her approach to the ‘craft of words’ and helped her make of her humble publishing craft a hybrid revolutionary art. I will thus see in what ways Woolf was ceaselessly challenging the identity of literary creation as she exploited photography in Orlando, Flush and Three Guineas, mainly focusing on her use of amateur photography in Orlando and the home-made cover for Flush, as well as on the handmade scrapbooks that paved the way to the bold Three Guineas. Also analysing some of the stigmas in her texts (punctuation, typographical gaps, narratorial structure), I wish to underline that Woolf’s literary work can be considered as an elaborate montage reminiscent of both her practice of album composition and contemporary photo-cinematographic theories.

Ce mémoire de master cherche une autre approche de l'avant-garde française en montrant les continuités dans l'esthétique surréaliste au lieu de souligner les ruptures que les auteurs eux-mêmes ont proclamées. Ce faisant, il devient évident que si le roman et la narration sont des catégories méprisées par le programme surréaliste, les deux persistent tout de même dans la création littéraire et ont même un statut emblématique pour la littérature surréaliste.
Quelles sont donc les innovations du "Paysan de Paris" ou de "Nadja" ? Une réponse représente l'intégration de documents dans le récit. En effet, la narration surréaliste semble devenir un outil d'enquête qui relève le document, le questionne et l'interprète. Ainsi, les romans surréalistes dépassent le programme réaliste et naturaliste par une insistance vigoureuse sur l'observation et le questionnement de celle-ci.

En el horizonte de la revolución contemporánea
de los hábitos dominantes de representación que
ha impuesto el montaje, con sus efectos de significación
interruptiva por fragmentación perspectivista
y yuxtaposición reveladora, se indaga su
irrupción a partir de una serie de escenas traductivas
entre las artes a lo largo del siglo XX. Tras
mostrar cómo la traducción de la “imagen dinámica”
de la poética clásica china insemina la poética
imagista y el subsiguiente método ideogramático,
se examina el modo en que tales poéticas inspiran
el desarrollo del montaje cinematográfico (S. Eisenstein),
el que a su vez es traspuesto en estrategia
de proyección arquitectónica (Le Corbusier,
J. Nouvel, B. Tschumi) y de conceptualización
histórico-filosófica (W. Benjamin).

In the horizon of the contemporary revolution in
the dominant habits of representation imposed by
montage, with its effects of interruptive signification
by perspectivist fragmentation and revealing
juxtaposition, this article inquires into its emergence
starting from a series of traductive scenes between
the arts throughout the 20th Century. After showing
how the translation of the “dynamic image” of classical
Chinese poetry impregnates imagist poetry and the
subsequent ideogrammic method, it examines the
way in which these poetics inspire the development of
cinematographic montage (S. Eisenstein), which in turn
is transposed into strategies for architectural projection
(Le Corbusier, J. Nouvel, B. Tschumi) and for historicphilosophical
conceptualization (W. Benjamin).

Le montage des œuvres d’arts graphique en vue de leur exposition a longtemps été considéré comme une opération technique mineure ne relevant pas de la responsabilité du conservateur-restaurateur.
Mais l’autonomisation de l’œuvre graphique à l’œuvre dans l’art du XXe et du XXIe siècle et l’extension du champ de la conservation préventive ont aujourd’hui impulsé une approche plus scientifique et  méthodologique des pratiques de montage. Les œuvres contemporaines sur papier de très grands formats posent à ce titre de nombreuses difficultés aux institutions qui les exposent. Les choix du conservateurs-restaurateurs y sont déterminés à la fois par des considérations d'ordre
déontologique très exigeantes (perception de l'œuvre, réversibilité, niveau d'intervention, choix de l'artiste), mais également par des impératifs pratiques extrêmes (taille des réserves, budgets,
matériaux disponibles). Ce mémoire a pour ambition de dresser un état des lieux concernant ces questions dans le champ de la conservation-restauration et d’essayer d’en proposer une approche méthodologique.

L'herbier comme montage, forme savante et médicale, pose la question de la guérison de la mémoire chez Luxemburg et Perec. Avec des inédits en français de Rosa Luxemburg (son herbier et ses lettres) et de Georges Perec (L'Herbier des villes).
"Rosa Luxemburg (1871-1919), révolutionnaire polonaise assassinée à Berlin pendant les soulèvements de 1919, et Georges Perec (1936-1982), écrivain français dont les parents ont disparu durant la Seconde Guerre mondiale, ont chacun composé des herbiers. Peu ou pas connues, ces œuvres documentaires sont radicalement différentes l’une de l’autre, sinon qu’elles cherchent à remédier aux violences de l’histoire dont ils ont chacun été victimes. Rosa Luxemburg laisse des planches botaniques annotées de manière personnelle et singulière, réalisées durant ses séjours en prison et composées grâce aux fleurs reçues dans les lettres de ses amies ; Georges Perec, pour sa part, laisse le projet inachevé de L’Herbier des villes, collecte de milliers de traces et déchets du quotidien, dont le collage sur des supports en doubles pages évoque les procédures plastiques et matérialistes propres aux avant-gardes. Dans un cas, le terme herbier désigne un montage botanique, dans l’autre un montage littéraire, mais dans les deux cas un artefact pour produire des remèdes. Par-delà l’accès privilégié qu’ils nous donnent à des existences prises dans le tumulte fatal des deux guerres mondiales, chacun est une pharmacopée contre la violence, une résistance du particulier à l’histoire. Montages de rythmes et d’émotions, de traces et de faits, de formes et de hasards, prodigieux chants physiques, plastiques et politiques pour guérir des guerres, ces herbiers sont des objets scientifiques, matérialistes et magiques, où chaque plante est la lettre énigmatique d’une incantation infra-ordinaire."

Cinema uses a variety of techniques to communicate a story but a component, common to all films, has to be set for he spectator to engage with the narrative and its characters: the suspension of disbelief. Be it talking animals, the existence of magic or simply an actor embodying a character, the spectator suspends his logic sense to immerse the story. He even forgets his environment and transposes himself into the scene with the characters.
However the suspension of disbelief is not automatically acquired. The filmmaker has to install it by hiding the techniques of cinema through transparency and continuity; preserving the first premise of the film throughout its duration; the film has to maintaining its own set of rules; human actions and emotions have to be believable; and genre expectations have to be respected.
Dersu Uzala and Girl chewing gum are two films that make the spectator aware he’s watching a film by weakening or breaking the suspension of disbelief. But the mechanisms of that awakening are both different and related to each film’s aesthetic project and message. To analyze this mechanism I will start by examining the narrative structure and montage. Secondly I will study the use of the voice-over and the creation of an absent protagonist. Finally I will dissect the gaze of the camera.
Firstly however I will give a small synopsis of both films and some historical context.

prologue, intro and afterword of book
Publication date: October 20, 2016
Abstract:
Restrictive border protection policies directed toward managing the flow of refugees coming into neoliberal democracies (and out of failing nation-states) are a defining feature of contemporary politics. In this book, Verónica Tello analyses how contemporary artists--such as Tania Bruguera, Isaac Julien, Rosemary Laing, Dierk Schmidt, Hito Steyerl, Lyndell Brown and Charles Green--negotiate their diverse subject positions while addressing and taking part in the production of images associated with refugee experiences and histories. Tello argues that their practices, which manifest across a range of contexts including Cuba, the United States, Australia and Europe, represent an emergent, global paradigm of contemporary art, 'counter-memorial aesthetics'.

Counter-memorial aesthetics, Tello argues, is characterized by its conjunction of heterogeneous signifiers and voices of many times and places, generating an experimental, non-teleological approach to the construction of contemporary history, which also takes into account the complex, disorienting spatial affects of globalization. Spanning performance art, experimental 'history painting', aftermath photography and video installation, counter-memorial aesthetics bring to the fore, Tello argues, how contemporary refugee flows and related traumatic events critically challenge and conflict with many existing, tired if not also stubborn notions of national identity, borders, history and memory.

Building on the writings of such thinkers as Michel Foucault and Jacques Rancière, this book offers a useful concept of 'counter-memory' for the twenty-first century. It shows how counter-memorial aesthetics is not only central to the nexus of contemporary art and refugee histories but also how it can offer a way of being critically present with many other, often interrelated, global crises in the contemporary era.

http://bloomsbury.com/us/counter-memorial-aesthetics-9781474252737/

Comparing Chion's theory on acousmatic sound, with Eisenstein's manifesto on the use of contrapuntal sound, I examine the innovative ways in which Lang expands the space of the cinematic frame by engaging the image and sound within and beyond it in a myriad of unexpected ways.

Taking as a reference Warburg’s iconology of the interval, this paper attempts to explore the logic of montage, editing and juxtaposition as one of the pillars of contemporary audiovisual creation and research. Warburg’s legacy, more active today than ever, gives priority to transmission, historicity and artistic empathy, and the development of a history of art that is less concerned with periods and authors than with ‘what happens to the observer’ based on the vital, emotional response to the repertoires and afterlife of gestures, the pathos formulae that have been passed down through history, escaping classification into trends. The great project Mnemosyne is an atlas of images conceived as a moving archive. His attention to time shocks and the dialectics of image is a big reference for the use of poetic and critical editing in the work of filmmakers, artists, photographers and writers. But above all, editing and juxtaposition a central tool in contemporary artistic research is its condition of laboratory.

En el horizonte de una investigación amplia acerca de las solidaridades entre configuraciones de lenguaje –especialmente formas poéticas de significación– y maneras de concebir lo real o habitar el mundo –incluida la experiencia de la temporalidad–  se interrogarán las formas de articulación y comprensión históricas en la poética del modernismo angloamericano, concentrándose en la lectura de obras literarias y críticas de T. S. Eliot, Ezra Pound y James Joyce. Considerando la conciencia aguda que muestran estos autores de las relaciones entre sus formas de experimentación lingüística radical y modos de conocimiento, el seminario gravitará en torno a una serie de estrategias poéticas, a menudo superpuestas, que pueden ser agrupadas bajo tres rúbricas principales: ‘ironía’ (escepticismo y entusiasmo, negación y superación crítica, aufhebung), ‘montaje’ (fragmentación y discontinuidad, método mítico y sincronización temporal), y ‘traducción’ (sobrevida, despliegue del pasado). La contraparte subjetiva de tales figuras (o, anti-subjetiva, si se quiere) será examinada a partir de sus concepciones del autor/hablante como un catalizador más o menos impersonal (ausencia de intencionalidad, personae, desdoblamiento crítico). Se propone dilucidar así la especificidad de una poética vanguardista que, confrontada a la crisis del discurso de la modernidad y a diferencia de otros movimientos que le fueron contemporáneos, no pretendió una ruptura simple con el pasado, sino un distanciamiento y reabsorción a través de estrategias de disyunción y superposición. En último término, se tendrá que evaluar hasta qué punto esta poética de la historia, que se forja entre las primeras décadas del siglo XX y el comienzo de la Segunda Guerra (y corresponde a lo que nosotros solemos entender como postmodernismo más que como modernismo), es una de la que aún se está intentando salir, o acaso tan sólo desplegar en lo que ha dejado pendiente.

This book chapter considers how Godard re-adapts the thematic concerns of his 1963 film Contempt in his later projects, including Soft and Hard (1985), and Histoire(s) du cinéma (1988-98). The chapter considers Godard as a prolific, albeit unconventional adapter of literature and other media, a filmmaker whose use of citation is bound up with his interests in translation and adaptation.

Wes Anderson, a young American filmmaker, has been well known for his unique cinematography and editing style since his early career. Working in the tradition of American New Wave, his films seek to produce a certain visual music and rhythms that all cinematic components produce. For instance, mise-en-scène and characters" performance are constantly aligned just like geometrical shapes or musical notes. He reinforces this rhythmic effect with his unique usage of color, which often generates fairytale-like overtone. Closely examining Anderson"s recent film, The Grand Budapest Hotel (2014), this essay seeks to understand this filmmaker"s aesthetic styles. In particular, our analysis will be made through Sergei Eisenstein"s “montage theory” – the theory that primarily focuses on the transactions among cinematic components, including shots, scenes, mise-en-scène, characters" movements, color, editing, and even sound and music. While attempting to understand the harmony and conflicts that all the cinematic components produce in the film, this essay also highlights the cinematic rhythm and political significance that underlies the unique aesthetics of the film. In so doing, we conclude that the aesthetics embedded in The Grand Budapest Hotel contributes to delivering a incongruity, humor, or carnivalesque overtone, which in effect critiques the devastating postwar reality depicted in the film – the despair and pessimism pervading Europe in the aftermath of World War II.

¿Qué lleva a que concibamos el mundo del modo en que lo hacemos? ¿Por qué distintas culturas lo imaginan y piensan conforme a sus peculiares maneras de hacerlo? En este singular ensayo, desarrollado con admirable precisión, Andrés Claro examina cómo las formas de lenguaje exploran la representación de la realidad y sintetizan mundos posibles. Mediante una aproximación comparativa a los comportamientos del poema, el autor nos hace experimentar hasta qué punto las figuraciones dominantes de la imagen, tal como se verifican en poetas clásicos de tradiciones ejemplares –la metáfora en Horacio, el paralelismo en Du Fu y el montaje en Ezra Pound–, proyectan las configuraciones metafísicas características de sus respectivas culturas –el dualismo entre lo sensible y lo ideal de la ontología clásica, el Proceso correlativo o Tao de la tradición china, y esa simultaneidad interruptiva, trascendencia en la inmanencia, que ha redefinido dramáticamente nuestros modos de habitar contemporáneos.

En el horizonte de una investigación acerca de las solidaridades entre las artes del lenguaje (lengua, poética, escritura) y maneras de concebir lo real o habitar un mundo, el seminario interrogará el legado filosófico-literario de China clásica, una poética sostenida y radical de la imagen que ha tenido un impacto contemporáneo que va desde la poesía al cine.
En un primer bloque, tras introducir el rendimiento metafísico-epistemológico de la imaginación lingüística (formas poéticas y gramatológicas como síntesis de lo real que conforman una visión de mundo determinada), se hará un examen comparativo entre la economía de la ‘metáfora’ en la poética/retórica occidental y la economía de la ‘imagen dinámica’ en la poética china, discerniendo las solidaridades básicas entre sus actuaciones estéticas y las cosmovisiones respectivas. Partiendo de la sentencia heideggeriana –“lo metafórico no existe más que en el interior de las fronteras de la metafísica [occidental]”– y asistidos, entre otros, por los trabajos de F. Nietzsche, J. Derrida, P. Ricoeur y F. Jullien, se indagarán al menos dos series de relaciones que permiten delimitar la concepción china del arte como ‘correlación’ y ‘proceso’, desmarcándola de la poiesis y mimesis que se impone en Occidente desde Aristóteles. Estas son: (i) las relaciones entre espacialidad y figura, con énfasis en las solidaridades entre la correlación de la imagen dinámica y una metafísica horizontal e inmanente, frente a las solidaridades entre la sustitución metafórica y el dualismo jerárquico de la ontología; (ii) las relaciones entre temporalidad y figura, con énfasis en las solidaridades entre la vibración dinámica de la imagen y una concepción de la temporalidad como proceso o flujo, frente a las solidaridades entre la traslación estructural en la metáfora y una concepción del tiempo como movimiento.
En un segundo bloque se interrogarán las grandes concepciones clásicas del pensamiento poético, con atención a las maneras en que promueven el estatuto de la imagen como respuesta subjetiva y entelequia de lo real. La atención a la poética expresiva de tendencia confuciana estará centrada en la doctrina de la ‘corrección de los nombres’ y en la concepción de la imagen como respuesta subjetivo-emocional ante la objetividad-natural. El examen de la poética metafísica de tendencia taoísta pondrá atención a la imagen como búsqueda de ‘representación más allá de la representación’ y entelequia de las correlaciones cósmicas (actualización de las virtualidades de la inmanencia).
En un tercer bloque se examinarán las diversas formas de la imagen en la poesía china, con atención a su síntesis de lo real como correlación y proceso. Tras discernir los elementos de lengua/escritura que contribuyen a la promoción e impacto de la imagen dinámica, el énfasis estará en ciertos arreglos mayores (paralelismo, cuartetos, octetos, etc.) que forjan una tensión característica entre lo subjetivo-proposicional y lo objetivo-imagístico, así como en otras formas de significación por fragmentación y yuxtaposición (montaje) que han tenido un impacto decisivo en las artes contemporáneas.
En un bloque final, dedicado precisamente a los ecos contemporáneos de esta poética de la imagen, se interrogará el método ideogramático en la poesía moderna (del imagismo de Ezra Pound a la poesía concreta brasilera), así como el impacto del ideograma y la imagen dinámica en el montaje cinematográfico.
El desarrollo de este programa general se hará en contrapunto con cuatro sesiones intercaladas, a cargo del Dr. Fernando Pérez, quien nos introducirá a los elementos esenciales de la poética y escritura chinas, así como a al legado respectivo de Wang Wei, Li Po y Du Fu, las tres cumbres indiscutibles de la Edad de Oro.
Los ecos de las formas de la poética china en las estrategias contemporáneas del cine serán abordadas por el cineasta Raúl Ruiz.