One of the key features of Jean-Jacques Beineix's relationship with the film
image is the notion of seduction and the erotic. This book shows Beineix's
films form a coherent body of work and sketches out a psychodrama formed by
Beineix's feature films. It explains, the cinéma du look was placed
by many, including Beineix himself, in a position of confrontation with the
cinema of the nouvelle vague. The book considers the early 1980s debates
concerning the film image which led to the view espoused by Jean-Michel Frodon,
after a brief account of Beineix's apprenticeship years. It attempts to
place Beineix's work within the context of the development of French
cinema, and discourses on the French cinema, as they evolved during the 1980s.
Beineix's first feature film, Diva, enjoyed considerable success,
becoming something of a cult film for the youth audience of the time, as well as
launching the careers of Richard Bohringer and Dominique Pinon. More than any of
the films of the cinéma du look, La Lune dans le caniveau
exemplifies the characteristics Bassan enumerates: a mise en scène, which
privileges exuberance, light, movement, especially the curves and curls of the
camera, and an emphasis on sensation. Bereavement after IP5 turned
Beineix away from feature filmmaking, despite several propositions from American
producers, Alien Resurrection and The Avengers among them.
present of Italy and the past of Italy (the Renaissance) and further back a
classical past at the time of Christ; a filmimage and a painting; low culture and high culture; the profane and the sacred. These iconological and
cultural comparisons have a musical extension: the music of the baroque
Italian composer Antonio Vivaldi alternates with gypsy music. There
is also a literary comparison and join: passages from Dante Alighieri’s
Inferno of the thirteenth century read out in prison, a hell of its own
where Ettore has been incarcerated. The noble poetry of
1980s debates concerning the filmimage which led to the view espoused by
Frodon, after a brief account of Beineix’s apprenticeship years. In
doing so, considerable emphasis will be put on Beineix’s first three
feature films, in so far as they help explain the vicissitudes of that
debate. These first three feature films, each very different, are key
moments of French cinema in the 1980s, and the least successful of
, since they hint at themes which I shall be developing
in this book, the relationship with the father, and the apparent conflict
between the technical and desire.
One of the key features of Beineix’s relationship with
the filmimage is the notion of seduction and the erotic, as we shall see.
Much like André Breton’s description of the erotic charge of a
powerful image (which he describes as an ‘aigrette de vent aux tempes
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
inadequacy, the difference of image from reality
that Welles establishes in this film (and in all his other films).
Its severity in Lady from Shanghai (and F for Fake) is directly related to
Welles’s narrative approach. If generally, in most films, images are by
themselves ambiguous and seldom clear, words and stories usually function to stabilise and anchor the image to give it meaning and precise significance (dialogue, narration, description, story), true in silent and sound
films. Welles uses words differently: to question an image, unsettle it with
doubt. The words of
distant in time and in space. They are historically, and from certain
points of view, remote, and, in ways not always explicable or clear, also
Every photographed and filmedimage is a double of the reality of
which it is the image. The modern arts have played with this duplicity,
the conversion of reality into a sign. They have also resisted it, pointing to the process by serialisation, repetition, parody, excessive artifice,
or by distortion. The double (the image) is always second to the original.
This is true, and absurdly so, when a found object is simply
‘Thoughts’ encapsulates the broad-spectrum tone of
repudiation and negation which permeates Soul and Form .
‘Thoughts’ also focuses on four key aspects of the film
medium: (1) the temporal nature of the medium (2) the relationship
between film and the ‘present’ moment (3) the
‘naturalism’ of the filmimage, and (4) the
The Specificity of the Aesthetic/Die Eigenart des Ästhetischen
’, ‘background’ or
‘perspectives’ (Lukács, 1913 ), the filmimage reinforces the conditions of
fragmentation and reification which characterise the subordination
of consciousness within modernity, and, in consequence, becomes just
one more ‘fragmented’ element in the ‘web of a
thousand strands’ or objectivations which entrap consciousness
(Márkus, in Heller (ed.), 1983 : 6