Author: Phil Powrie

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.

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Sam Rohdie

Christ; the present of Italy and the past of Italy (the Renaissance) and further back a classical past at the time of Christ; a film image 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

in Film modernism
Abstract only
Phil Powrie

the early 1980s debates concerning the film image 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

in Jean-Jacques Beineix
Abstract only
Phil Powrie

, 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 film image 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

in Jean-Jacques Beineix
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

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.

Author: Karen Fricker

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.

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Sam Rohdie

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

in Film modernism
Abstract only
Sam Rohdie

­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 close. Every photographed and filmed image 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

in Film modernism
Ian Aitken

Cinema’ 1 Generally speaking, ‘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 film image, and (4) the

in Lukácsian film theory and cinema
The Specificity of the Aesthetic/Die Eigenart des Ästhetischen
Ian Aitken

’, ‘background’ or ‘perspectives’ (Lukács, 1913 ), the film image 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

in Lukácsian film theory and cinema