538 research outputs found
SieÄ festiwali filmowych
Publikacja zostaĆa sfinansowana ze ĆrodkĂłw Narodowego Programu Rozwoju Humanistyki w ramach projektu nr 12H 11 0004 8
Sauts temporels et dé-placements : Le souvenir du travail dans les machines de vision de Farocki
Cet essai soutient que les films de Harun Farocki ont toujours oscillĂ© entre les contraintes institutionnelles, dâune part, et les failles du cinĂ©ma indĂ©pendant (financĂ© par lâĂtat et la tĂ©lĂ©vision) et des galeries dâart (commanditĂ©es), dâautre part. Cela dit, lâautoritĂ© morale et la crĂ©dibilitĂ© esthĂ©tique de ses films et de ses installations dĂ©coulent dâune « critique » Ă double tranchant : ses oeuvres sont critiques parce que leur portĂ©e rĂ©flexive atteint mĂȘme le rĂ©alisateur, et que la boucle de rĂ©troaction (feedback) engage Ă©galement lâartiste. Quiconque explore son travail/art dĂ©couvre que Farocki est vraisemblablement lâun des rares rĂ©alisateurs contemporains Ă pouvoir contrecarrer le monde comme oeil machinique, en redonnant Ă lâoeil et la main, par moment, une puissance dâimplication de soi et de solidaritĂ©. ConsĂ©quemment, toute lâactualitĂ© et lâurgence de lâoeuvre de Farocki tiennent dans un effort pour sauvegarder le cinĂ©ma de sa propre dialectique de mĂ©moire et dâoubli, dâune Ă©vocation nostalgique dâune plĂ©nitude perdue et dâune auto-rĂ©flexivitĂ© moderne, en rĂ©inventant le « travail » comme « art », et lâ« art » comme « travail ».The essay argues that Harun Farockiâs films have always been poised between the institutional constraints and aesthetic faultlines of (state and television-funded) independent cinema and (commissioned) gallery art. But his filmsâ and installationsâ moral authority and aesthetic credibility come from the fact that their âcritiqueâ cuts both ways: they are critical in the sense that their gestures of reflexivity are directed also at the director himself, and that the feedback loops implicate the artist as well. As one walks through his art/works, one realizes that he may be one of the few filmmakers today capable of countering the self-surveillance of the world as machine eye, with moments that re-instate the eye and the hand as instances of self-implication and solidarity. The true topicality and urgency of Farockiâs work may thus be nothing less than an effort to rescue the cinema from its own dialectic of memory and forgetting, of nostalgic evocation of a lost plenitude and modernist self-reflexivity, by reinventing âworkâ as âartâ, and âartâ as âworkâ
General introduction media archaeology : Foucaultâs legacy
DiffusĂ© avec lâaccord des Ăditions Amsterdam University Press, dĂ©tentrices des droits dâauteur sur ce texte
European cinema: face to face with Hollywood
In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe's national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different debates and presents a broader framework for understanding the forces at work since the 1960s. These include the interface of "world cinema" and the rise of Asian cinemas, the importance of the international film festival circuit, the role of television, as well as the changing aesthetics of auteur cinema. New audiences have different allegiances, and new technologies enable networks to reshape identities, but European cinema still has an important function in setting critical and creative agendas, even as its economic and institutional bases are in transition
Between knowing and believing : the cinematic dispositive after cinema
DiffusĂ© avec lâaccord des Ăditions Amsterdam University Press, dĂ©tentrices des droits dâauteur sur ce texte
Media archaeology as the poetics of obsolescence
Diffusé avec l'accord de Forum, détenteur des droits d'auteur sur ce texte
Media archaeology as the poetics of obsolescence
Diffusé avec l'accord de Forum, détenteur des droits d'auteur sur ce texte
Fassbinder's Germany: history, identity, subject
Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism
Fassbinder's Germany
Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism
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