Experimentieren, um zu sehen

2012 ◽  
Vol 57 (2) ◽  
pp. 26-43
Author(s):  
Georges Didi-Huberman
Keyword(s):  
Point Of View ◽  
Literary Field ◽  
Alain Resnais ◽  
Visual Style ◽  
Technical Reproducibility ◽  
Andre Malraux ◽  
Imaginary Field ◽  
Chris Marker

Ausgehend vom Standpunkt eines visuellen und kognitiven Experimentierens beschäftigt sich der Beitrag mit der Arbeit André Malraux’ zu den Illustrationen seines Musée imaginaire. Es handelt sich um eine Arbeit, die explizit vom Benjamin der »technischen Reproduzierbarkeit« und des »Autors als Produzenten« inspiriert ist. Studiert wird die Öffnung des imaginären Feldes, wie sie die Praxis des Kunstbuchs – als einem Album, das von einer Art Expressivität der Rahmung, Beleuchtung und Montage getragen wird – bei Malraux nahelegt. Durch diese Praxis der Montage konstruiert Malraux die Autorität seines visuellen Stils und die Schließung seines literarischen Feldes. Vor allem aber setzt sich der Beitrag – auf kritische Weise – mit dem anti-historischen und anti-politischen Zielpunkt seiner Ästhetik auseinander, die von Benjamin weit entfernt zu stehen kommt. Am Schluss steht der Vergleich zwischen zwei zeitgenössischen Werken, Le Musee imaginaire de la sculpture mondiale von Malraux und Les Statues meurent aussi, einem Film von Chris Marker und Alain Resnais.<br><br>Our paper deals with the work of André Malraux on the illustrations for his Musée imaginaire from the point of view of visual and cognitive experimentation. This work is explicitly inspired by the Benjamin of the »technical reproducibility« and the »author as producer.« We examine the opening of the imaginary field, as it is suggested by the praxis of the art book – an album of images that is supported by a certain kind of expressivity of framing, illumination and montage – in Malraux. Through this praxis of montage, Malraux constructs the authority of his visual style and the closure of the literary field. Above all, however, we discuss critically the anti-historical and anti-political destiny of his aesthetics, which in the end is quite far from Benjamin’s, and we conclude with a comparison between two contemporary artworks, namely Malraux’ Le Musee imaginaire de la sculpture mondiale and Les Statues meurent aussi, a film by Chris Marker and Alain Resnais.

МАРКЕТИНГОВІ АСПЕКТИ ФУНКЦІОНУВАННЯ ЛІТЕРАТУРНИХ КОНКУРСІВ ТА ПРЕМІЙ

2020 ◽  
pp. 90
Author(s):  
O. Bondar
Keyword(s):  
Publishing House ◽  
Target Audience ◽  
Point Of View ◽  
Information Support ◽  
Literary Field ◽  
Non Profit ◽  
Functional Aspects ◽  
The Media ◽  
Literary Prizes ◽  
The Impact

<p><em>In this study, I have collected and summarized the functional aspects of a literary prize, contest, and rating, which indicate their affiliation with the marketing complex of the publishing house for the first time. For this purpose, I have analyzed and summarized the common concepts of the functioning of literary prizes and contests as advertising tools for publishing activity. Because the previous studies are only focused on the fact of the impact of the prize on the promotion of editions but do not explain it, these aspects have been considered and introduced by me from the book production’s point of view. I investigated that the prizes and the contests in the literary field are effective marketing tools, which meet many publisher’s needs at the same time and can be considered a non-profit form of capital. I have reviewed the works of other authors, who accept that the economic success of the book is rising if the author is a winner of the literary prize or contest. I have found out that the book prize activates the demand for the book, and the literary contest is a tool to track the reader’s reaction to a future publication. In this way, literary prizes and contests can be considered as a way of conducting a marketing dialogue with the target audience. I have focused on the information support of literary national and international prizes and contests by the media, which attracts attention to the book and forms the reader’s interest. The literary prizes and contests are also considered as a way of exploring trends and their changes, familiarization the popular genres among the target audience and fixation the current choice of modern readers. Literary prizes and contests motivate the authors to improve their literary excellence, are the source of new authors and works, and assist in increasing sales of books. However, further research is recommended.</em></p><strong><em>Key words:</em></strong><em> book prize, book rating, literary contest, literary prize, functions of the literary prizes.</em>

scholarly journals Politica Prozei Fracturiste

2020 ◽  
Vol 21 (1-2) ◽  
pp. 31-39
Author(s):  
Mihnea Bâlici
Keyword(s):  
Literary Criticism ◽  
Point Of View ◽  
Literary Field ◽  
Literary Works ◽  
Literary Movement ◽  
Post Communism ◽  
Relationship Of ◽  
The Relationship

Abstract This paper is aiming to analyze the prose of the early 2000s’ young authors from an ideological and political point of view. Fracturism was a literary movement with anarchist and insurgent purposes, but the nature of their values was not clarified by the local literary criticism. This thesis suggests a redefinition of the anti-systemic attitude proposed by the Fracturists. Also, another objective is to clarify the relationship of Fracturist prose to the aesthetics’ domain. In this sense, inconsistencies can be observed between the anti-postmodernist obsession of “The Fracturist Manifesto” and the literary works themselves. Moreover, the subcultural themes as used by the young prose writers become a means of self-promotion in the Romanian literary field from post-Communism.

Chris Marker

2013 ◽  
Author(s):  
Steven Jacobs ◽  
Sofie Verdoodt
Keyword(s):  
World War Ii ◽  
Air Force ◽  
United States Air Force ◽  
The United States ◽  
Marguerite Duras ◽  
World War ◽  
German Occupation ◽  
Alain Resnais ◽  
History Of ◽  
Chris Marker

Chris Marker is a pseudonym of Christian François Bouche-Villeneuve (b. 1921, Neuilly-sur-Seine, France–d. 2012, Paris, France), a French director, screenwriter, photographer, editor, writer, and multimedia artist. A major figure in the history of both experimental and documentary film, Marker turned out to be a mythic artist, who is always elusive about his past—even his place of birth is highly disputed (Ulan Bator, Mongolia, and Belleville, Paris compete with Neuilly-sur-Seine). In addition, Marker was known to refuse interviews and not allow photographs to be taken of him (though these claims are not entirely accurate). After studying philosophy prior to World War II, an involvement in the French Resistance during the German occupation, and having joined the United States Air Force as a paratrooper, Marker emerged as an intellectual, journalist, writer, and photographer in Paris in the 1940s. Already he showed a particular interest in filmmaking and he eventually made his debut as a filmmaker in 1952 with a documentary of the Helsinki Olympic Games. Soon after, he collaborated with Alain Resnais on Les Statues meurent aussi—both Marker and Resnais became key members (next to Agnès Varda, Jean Rouch, and Marguerite Duras) of the so-called Rive Gauche group. From the 1950s onward, Marker made seminal documentary essay films such as Dimanche à Pékin, Lettre de Sibérie, and Le Joli Mai. In 1962, he became known internationally for the short La Jetée (The Pier), which consists of still photographs. After his involvement in collective and radical filmmaking for SLON and ISKRA in the period 1967–1974, Marker made Sans Soleil, his best-known and most widely seen essay film that combines documentary and fiction. Already interested in the interactions between various media from the beginning of his career, Marker also developed into a leading video and multimedia artist beginning in the 1980s.

scholarly journals Rebellen en autoriteit: De ambtenaar, de leraar en de tedere anarchist – E. Ternest, A. Hans en L. P. Boon – over Jan de Lichte

2021 ◽  
Vol 69 (5 Zeszyt specjalny) ◽  
pp. 95-117
Author(s):  
Benjamin Bossaert
Keyword(s):  
Second World War ◽  
Point Of View ◽  
Left Wing ◽  
World War ◽  
Literary Field ◽  
Literary Context ◽  
Historical Figures ◽  
Second World

It cannot be denied that historical figures, when literarized, are also coloured by their respective authors and how they can be found in the literary field and also played a role outside their literary context. The Author would like to assume a literary sociological point of view, and in this contribution the tension between the authority and autonomy of the author is linked to the characters he has created. In this research, the Author focuses on the Flemish hero Jan de Lichte and three authors who have written a work about Jan de Lichte’s gang. He starts with Ernest Ternest from Wetteren. It is interesting to consider for a moment the reputation and the life and work of popular writer Abraham Hans, who was born in (Sint-Maria-)Horebeke in a community now known as the Geuzenhoek, a small Protestant community in at that time predominantly Catholic Flanders. Finally, the Author looks at the role outside the literary field of Louis Paul Boon, who also called himself a tender anarchist, worked for a while as a journalist for the left-wing magazine De Roode Vaan and immediately after the Second World War sympathised with communist ideas.

scholarly journals Caminhos da consagração: Guimarães Rosa e o julgamento crítico

2018 ◽  
Vol 27 (3) ◽  
pp. 151-174
Author(s):  
Mônica Fernanda Rodrigues Gama
Keyword(s):  
Literary Criticism ◽  
Point Of View ◽  
Literary Critic ◽  
Literary Field ◽  
Literary Practice ◽  
Unique Power ◽  
Literary Agents

Resumo: Quando um autor expõe suas leituras e o modo como avalia diferentes práticas literárias, ele oferece uma oportunidade de compreendermos particularidades da prática literária, percebidas a partir de um ponto de vista interno. Mais que curiosa, essa visão interna nos dá pistas de mecanismos e escolhas relativas à percepção de valores literários. Os escritores, agentes literários dotados de um singular capital simbólico, podem perceber, elucidar e avaliar a literatura de seus contemporâneos, associando suas assinaturas aos nomes dos que desejam integrar o campo literário, por meio da crítica literária, desdobrando-se em um escritor-crítico. Outra forma de intervenção no campo literário por parte de escritores é a participação como jurados de concursos de literatura, cumprindo então um papel avaliativo. Guimarães Rosa não fazia crítica literária publicamente. Negava-se, sobretudo, a comentar seus contemporâneos, mas publicou textos em que ficcionalizou escritores, apresentando-os criticamente. Além desse jogo lúdico, pouco comentado (talvez pelo tom enigmático da brincadeira), exerceu em seus manuscritos algumas facetas de escritor-crítico, como vemos em suas anotações como jurado do prêmio Walmap (1966). Neste artigo, abordaremos textos sobre o concurso Humberto de Campos (1937), quando Guimarães Rosa foi julgado por Graciliano Ramos, e as anotações do prêmio Walmap, quando o autor mineiro assume o lugar de avaliador, observando quais critérios são reatualizados pelos dois escritores para a compreensão de seus contemporâneos. Além disso, abordaremos os poucos textos assinados por Guimarães Rosa para apresentar escritores estreantes, nos quais podemos perceber outro éthos autoral em cena.Palavras-chave: Guimarães Rosa; concursos literários; Graciliano Ramos; escritores-críticos.Abstract: When a writer exposes their readings and their way of analysing different literary productions, we have in hands a probing opportunity to comprehend particularities of the literary practice experienced by an inner point of view. More than curious, such point of view evidences mechanisms and choices related to the perception of literary values. Writers, as literary agents skilled with a symbolic and unique power, can elucidate, apprehend, and analyse their coeval colleagues’ literature. By becoming critical writers, they associate, through literary criticism, their character with the names of those who want to be part of the literary field. Another way for writers to act in the literary field is by being judges on literary contests, assuming an evaluative characteristic. Publicly, Guimarães Rosa was not a literary critic. He repudiated to comment his coetaneous colleagues. However, Rosa published texts in which he critically presented fictional authors. Besides this ludic game (uncommented probably due to his enigmatic game), he practiced some critical-writer aspects in his manuscripts, as in his notes on the Walmap Contest (1966), in which he was a judge. In this paper, we assess texts about both the Humberto de Campos Contest (1937) and the Walmap Contest, when Rosa took on the judge position. Our objective is to observe which criteria are revisited by both the authors to comprehend their coeval colleagues. At the same time, we analyse the few texts Rosa used to introduce the newcomer writers. In these few texts, we can perceive a different authorial ethos on the scene.Keywords: Guimarães Rosa; literary contests; Graciliano Ramos; critical writers.

scholarly journals recuerdo de una mirada

Designio ◽  
2020 ◽  
Vol 2 (1) ◽  
pp. 84-103
Author(s):  
Edwin Culp Morando
Keyword(s):  
Alain Resnais ◽  
Chris Marker

En este texto se analiza la relación entre mirada y memoria en el cine como una serie de interacciones que tienen lugar en las superficies de sus imágenes y recuerdos. Ante aquellas experiencias empobrecidas por la aniquilación del pasado en la guerra, por la desesperanza e imposibilidad de imaginar el porvenir o la desazón por la desconexión del mundo, el cine puede volcar la mirada a la virtualidad. Puede dar a ver ahí, donde ya solo pueden verse destellos; puede hacernos recordar incluso aquello que nunca hemos vivido. A partir del análisis de tres (3) películas célebres por las relaciones que establecen entre imagen, mirada y recuerdo, pero también por las experiencias que narran; La jetée (1962) del director Chris Marker, Hiroshima, mon amor (1959) de Alain Resnais, y Le Fabuleux destin d’Amélie Poulain (2001) dirigida por el director Jean-Pierre Jeunet. Así, el autor produce una caracterización de algunos fenómenos que se dan al nivel de la superficie de la imagen.

The Brain’s Cinematic Metaphors (Images of Thought, Thinking Forms)

2015 ◽  
pp. 85-101
Author(s):  
Didier Coureau
Keyword(s):  
Gilles Deleuze ◽  
Felix Guattari ◽  
Alain Resnais ◽  
Chris Marker

Cet article s’inscrit dans le prolongement d’une recherche que je mène depuis une vingtaine d’années sur les rapports entre cinéma et pensée. En m’appuyant en particulier sur les réflexions de Gilles Deleuze, Félix Guattari, Edgar Morin, j’ai ainsi pu créer les concepts de « complexité esthétique », « noosphère filmique », « cinématographie des flux ». Suite à l’évocation de créateurs-penseurs du cinéma muet d’avant-garde (Epstein, Dulac, Artaud), sont ici abordés des films d’Amos Gitaï, Chris Marker, Jean-Luc Godard, Alain Resnais et Andreï Tarkovski. L’intitulé, « Les métaphores filmiques du cerveau » indique que l’approche de la relation cinéma-cerveau est d’ordre philosophique, mais également d’ordre poétique. Si le cinéma est à même de donner forme à la pensée, il invente aussi des circuits cérébraux — sonores et visuels — qui lui permettent de devenir forme « pensante ».

Looking for Myriam

2016 ◽  
Vol 2 (3) ◽  
pp. 29-53 ◽  
Author(s):  
Monica Dall'Asta
Keyword(s):  
Detailed Analysis ◽  
Cultural Context ◽  
French Cinema ◽  
Alain Resnais ◽  
Found Footage ◽  
Michel Leiris ◽  
History Of ◽  
Andre Bazin ◽  
Chris Marker ◽  
Critical Notes

Despite the recent multiplication of studies in found footage cinema, the fog surrounding the figure of Myriam Borsoutsky remains thick. This article elaborates the rare extant information about her work to retrace an important chapter in the history of found footage cinema in France, in which women have played a major role. In an attempt to delineate a specifically female genealogy in the history of French compilation film, Myriam's work is studied alongside that of Nicole Vedrès, and situated in the cultural context of a net of relationships that includes other women, for instance Denise Tual and Yannick Bellon, as well as such masters of French cinema as Pierre Braunberger, Sacha Guitry, Henri Langlois, Alain Resnais, André Bazin, Chris Marker, Jean-Luc Godard, and Michel Leiris. A detailed analysis of two major works in this genealogy, Paris 1900 (dir. Nicole Vedrès, 1947) and Bullfight (dir. Myriam and Pierre Braunberger, 1951), draws upon Vedrès's own writings and André Bazin's critical notes on the films. The last section addresses the meaning of the neologism neomontage, coined by Bazin in his review of Bullfight to describe Myriam's “diabolical” editing abilities.

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