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Lecture 6

FILM 279 Lecture 6: Film 279 lecture 6
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7 Pages
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Winter 2017

Department
World Cinemas
Course Code
FILM 279
Professor
Thomas Lamarre
Lecture
6

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Film 279 lecture 6
Last class: avant-garde film
Dula eadig ad toda’s eadig
2 similar moments
o opening up of the screen from space of H studio, from space of the
narrative (contained space ) to smt else
o image the eye: spilling of the unconscious, material onto the screen itself
opening up of the screen to a diff world/diff dimensions
mind, dream, emotion, shocking viewer to diff levels,
possessed by mind screen,
also documentary films
o screen opens up, not to the interior, to the world:
reality, life
that world stick into smt more noble, but
reality itself is very ambiguous, smt that is
imponderable (as much as the world of
dreams)
movies break away from narrative form, to diff spaces
opposition
Dulac
o Relationship to man with movie camera
o Talks about cinema in order to establish specificity of cinema, enslaved to
logic of theater, literature, but medium with own qualities and
specificities
Similarities with music
Non-representational signs
o Visual sonorities
Embrace not narrative logic, but involved in
exploration of the image itself, of the
movement, rhythm: basic material of
cinema
Imponderable, life
o With onset of sound: cinema more and more industrialized, alternative
ways of making movies (like avant-garde) were shut off from the use and
possibility of producing: because more and more an industry
o Avant-garde crucial role in experimenting with cinematic sonorities with
life, imponderable, elaboration to new forms that will not appeal to
mainstream cinema, but will later on be absorb into mainstream cinema,
will change in the long run cinema itself
o Pure cinema (cinema that work with form, emotion, feeling, rhythm)
Image itself
She Value the aestheti ualities of iea, ut does’t ea
there Is no dramaturgy involved, another type involved with visual
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elements (dramatic power evokes the quality of a poem, rather
than a novel)
Working with forms
But still maintaining drama
Ex.
Surrealist cinema
Symphonie films
Abstract experimentation with just images
2 opposite examples
o rhythmus 21 (Hans Richter)
aesthetic formal play with shapes,
revolutionary act, breaks away
experimental avant-garde
form-shape- rhythm : play with dramaturgy
abstract, inhuman, beyond the human (for
Dulac) because deals with
irrationality/dreams, with science has a part
to play in experimental cinema
network, not of events to follow, bu rather
of sensation, shapes, forms that go beyond
what could be reduced to smt that make
sense as a narrative
think of the image as smt independent from
a story
o Rain (Regen) (Joris Ivens)
Symphonie documentary
Poem that is constructed on life, rhythm,
sense of movement and its musicality, not
on a plot (same ex. Man with Movie
camera)
Montage
Music was more central than Vertoz
(music written later: took over, not
synergetic)
o 2 music: music and music of
montage
metaphorical sense, language of life,
movement
o montage builds up around it
real symphony movies: focus only
on the city: whereas MWMC focuses
on other things too (much larger in
scope, not just one city,
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find more resources at oneclass.com

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Description
Film 279 lecture 6 Last class: avant-garde film Dulac reading and todays reading 2 similar moments o opening up of the screen from space of H studio, from space of the narrative (contained space ) to smt else o image the eye: spilling of the unconscious, material onto the screen itself opening up of the screen to a diff world/diff dimensions mind, dream, emotion, shocking viewer to diff levels, possessed by mind screen, also documentary films o screen opens up, not to the interior, to the world: reality, life that world stick into smt more noble, but reality itself is very ambiguous, smt that is imponderable (as much as the world of dreams) movies break away from narrative form, to diff spaces opposition Dulac o Relationship to man with movie camera o Talks about cinema in order to establish specificity of cinema, enslaved to logic of theater, literature, but medium with own qualities and specificities Similarities with music Non-representational signs o Visual sonorities Embrace not narrative logic, but involved in exploration of the image itself, of the movement, rhythm: basic material of cinema Imponderable, life o With onset of sound: cinema more and more industrialized, alternative ways of making movies (like avant-garde) were shut off from the use and possibility of producing: because more and more an industry o Avant-garde crucial role in experimenting with cinematic sonorities with life, imponderable, elaboration to new forms that will not appeal to mainstream cinema, but will later on be absorb into mainstream cinema, will change in the long run cinema itself o Pure cinema (cinema that work with form, emotion, feeling, rhythm) Image itself She Value the aesthetic qualities of cinema, but doesnt mean there Is no dramaturgy involved, another type involved with visualelements (dramatic power evokes the quality of a poem, rather than a novel) Working with forms But still maintaining drama Ex. Surrealist cinema Symphonie films Abstract experimentation with just images 2 opposite examples o rhythmus 21 (Hans Richter) aesthetic formal play with shapes, revolutionary act, breaks away experimental avant-garde form-shape- rhythm : play with dramaturgy abstract, inhuman, beyond the human (for Dulac) because deals with irrationality/dreams, with science has a part to play in experimental cinema network, not of events to follow, bu rather of sensation, shapes, forms that go beyond what could be reduced to smt that make sense as a narrative think of the image as smt independent from
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