Category: Article
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Autonomie, quel est ton prix ?
Par « personnel », Duras entend « autonome » lorsqu’elle décrit son cinéma au micro du critique français Serge Daney. De son côté, Loden réalise Wanda « …as a way of confirming my own existence. » (Léger, 2012). Parlent-elles de la même chose ?
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Costume et historicité: Charlot le vagabond
Comment subsiste aujourd’hui l’image du costume de Charlot et que nous dit-elle sur l’historicité de Charlie Chaplin ?
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De l’espace “intermédiaire”
“Sorti en 1968, L’Esprit du Temps est un film étonnant encore en 2023, unissant performances, métamorphoses et explorations d’espaces : espaces privés, espaces publiques : espaces politiques évidemment. Le film est politique. D’abord, publiquement politique. Le climat historique est (supposément) clair : lutte contre la guerre du Vietnam, tendances du mouvement américain…”
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On Dada aesthetic
“René Clair’s Entr’acte (1924) and Francis Picabia’s Relâche (1924) are two works that were made to be presented together: the former was an experimental intermission film that segmented in two acts the latter, an unusually provocative and humorous ballet show. The experience as a whole links in many ways to the Dada movement, but what…
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Globality and images, images and globality
“Robertson claims that there is a duality in the concept of globalisation. He writes that ‘globalisation as a concept refers both to the compression of the world and intensification of consciousness of the world as a whole’. This quote which starts off the first chapter of his book indicates that globalisation acts in two different…
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Illusion of (or for) reality?
“In Bicycle Thieves, the nature of the representation of reality could be seen as the result of the impossibility to continue producing films, practically and conceptually, in the way that people did before World War II. This said, De Sica doesn’t exactly reject past cinematic conventions. His conceptual approach is akin to a form of…
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Pretext and subversion
“Solanas & Getino link culture and cinema very closely. They begin their assessment by looking at third world countries’ social and political situation in reference to the existing Cinemas of the world. They bring up the ideas of ‘subversion’ and the need for the ‘decolonization of culture’. They establish an understanding that their cinema will…
Theodore Gimeno 