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In The Future of the Image (2007) Jacques Rancière states that the end of images is behind us. He argues for an aesthetics of the image that acknowledges the continuing power of images as educating documentations of traces of history, as directly affecting interruptions, and as open-to-combining signs of the visible and the sayable ad infinitum. But does Rancière’s claim also concern the future of cinema?His cinematic references, in a Deleuzian sense, are mostly to modern time-images. Is the future of film indeed a form of the time-image, or has the ‘heart’ of cinema moved beyond this image-type? This paper proposes to look at a third category of cinematographic images, based in the third synthesis of time as developed by Deleuze in Difference and Repetition. This filmic image, that could be called the neuro-image, is connected to the impure regime of images typical for the database logic of the digital age. By comparing Alain Resnais’s Hiroshima Mon Amour (1959) to the television series Flash Forward (2009), I will analyse the temporal operations of the image of the time-image to these images of a new regime of images, the image of and from the future.
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Cinema as a theoretical and philosophical open system of thinking about classical, modern and postmodern movies. Deleuze proposed two different classifications and theoretical implications of cinematographic images. First of all he considered cinema as two different historical options: the movement-image and the time-image, based on Henri Bergson notion of matter and memory. The next point of view was a new theory about two regimes of the image, which can be discussed point by point; an organic regime and crystalline regime. The first point concerns description. A description which assumes the independence of its object is defined as “organic”. In contrast, what we call a “cristalline” description stands for its object, replaces it, both creates and erases it. A consequence of the first it studies the relation between the real and the imaginary. Organic images are recognizable by their continuity: relations, actual linkages, legal, causal and logical connections. The crystalline regime is completely different; the actual is cut off from its motor linkages. The second point no longer concerns description, but narration. Organic narration consists of the development of sensory-motor schema as a result of which the characters react to situations. This is a truthful narration in the sense that it claims to be true, even in fiction. Crystalline narration is quite different, since it implies a collapse of sensory-motor schema. The third point is the story, distinct from description and narration. Organic story is based on looking for the true, but crystalline story (the direct time-image) works with pure optical and sound images. New Wave deliberately broke with the form of the true to replace it by the ‘powers of the false’. In Gilles Deleuze’s theory the crystal discloses various temporal states: time as the eternal crisis of the consciousness and, on a deeper level, time as primitive matter, huge and terrific, as general becoming. According to the French philosopher what constitutes the crystal-image is the most fundamental operation of time; it has to split the present in two heterogeneous directions, one of which is launched towards the future while the other falls into the past. The article compares Deleuze’s classification modes of narration (Cinema) with David Bordwell’s proposition (Narration in the Fiction Film).The paper’s aim is to intorduce Gilles Deleuze’s
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Diamonds of the night dir. Jan Němec is commonly classified as modernist in Czech literature on the subject and in comprehensive publications trying to determine aesthetic, historical and temporal specificity of this artistic movement. Despite the fact that András Bálint Kovács in Screening Modernism: European Art Cinema mentioned quite impressive number of Central European artists among directors of art cinema making their films during 1950-1980, most of them are not used as an example of this universally transnational aesthetics. The main actors on this scene are always West European luminaries of cinematic art. Němec’s participation in this order is explained by some resemblance to Ingmar Bergman’s films, especially to this type of mental journey incrusted by surrealist components.Kovács notes many simultaneous paths in theory and aesthetics of cinema led by the evolutionist one. Gilles Deleuze’s thought, born outside the theory of film, is in a separate and unique position. It is hard not to see Deluzian cinematic thinking on modernist cinema in terms of succession, development and a final achievement of classical cinema. “(…) from its first appearances something different happened in what is called modern cinema: not something more beautiful, more profound or more true but something different. What has happened is that the sensory-motor schema is no longer in operation, but at the same time it is not overtaken or overcome. It is shattered from inside”. The cause does not follow the action. The acts of perception do not proceed an operation. Cinema has entered in the epoch of medium which possessed the capacity to express abstract ideas. From this perspective, modernism is no longer a style of artistic movement but it as an actualization of the cinema to be an image of thought.We may interpret Diamonds of the night from the perspective of disintegration of genre cinema to the showcase of Time-Image mechanisms focused on the crystal narrative.
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The author of the article analyses the first two feature films of Leos Carax – Boy Meets Girl (1984) and The Night Is Young (Mauvais Sang, 1986) – in the perspective of Gilles Deleuze’s reflection on cinema. Undoubtedly, the works of both filmmaker and philosopher are linked to broadly-understood postmodern paradigm – the former’s to postmodern cinema, the latter’s to postmodern theory of cinema. Nevertheless, it is modernism (…) that formed both Carax’s style and Deleuze’s concept. The author explores the French director’s films through the most sophisticated form of time-image cinema – crystalline regime, which includes three instances of film: description, narration and story.
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Audiovisual culture annihilates boundaries between dualisms such as nature/culture and human/machine. In that process desire is also released and it can operate across many regimes not being bound by dualisms. This is the standpoint of Gilles Deleuze’s and Felix Guattari’s philosophy which serves to develop a theory of contemporary audiovisual culture. Both thinkers postulated that a subject that is a fully incorporating being of capitalism is the schizophrenic but not considered as a form of mental illness. Rather it should be intermpreted as through his emancipatory potential. Audiovisual culture normalizes the schizophrenic subject – it no longer has the potential to overcome economical determinations. This process is established by a series of technical accelerations of being and especially of distributing audiovisual content. The schizophrenic subject by switching between them loses the need for unitary and coherent being. Audiovisual culture and its technically controlled schizophrenics is schizoculture - the state of culture where technical schizophrenization becomes the basic mode of its being.
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Autor stawia pytanie o status wydarzenia filmowego, odwołując się do różnych koncepcji pojęcia wydarzenia wyprowadzonych z dyskusji Alaina Badiou z myślą Deleuze’a. Kreśląc dalsze możliwe teorie wydarzenia, opierając je też na pojęciu fraktali zaczerpniętym ze współczesnej fizyki, proponuje ostatecznie syntezę dwóch pierwotnych konceptów, wykazując, że zdarzenie filmowe leży być może pomiędzy myślą Badiou i Deleuze’a, a „kino w każdym momencie może ustanowić wydarzenie poprzez pozornie puste lub pełne chwile”. Artykuł zamiast podtrzymywać rozróżnienie na pojedyncze i zbiorowe rozumienie wydarzenia podpowiada trzecią drogę: filozofii „pojedynczej zbiorowości”.
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In my paper I am introducing philosophical film thought by Jacques Rancière, presented in his book Film Fables (2006). Before proceeding with the analysis. I am tracking theoretical pathways and points of reference that have brought the author to his interests in cinema. I am delineating two main areas that I believe played a fundamental role in the way Rancière defines his cinematic thoughts. The first one is his general philosophical project that is programmatically organised around a list of concepts, key in all of his works – „politics of aesthetics”, „distribution of the sensible”, „aesthetic regime of art”, „dissensus vs consensus”. By reconstructing their specific meanings and role my argument progresses from the general overview of Rancière’s philosophy towards his aesthetical writings, definition of art, status of images and finally to his thoughts on cinema. The main reason the philosopher took up film studies was his general approach towards aesthetics and analyzing its particular examples in political context. The second reason was a direct inspiration by the works of French theoreticians – Jean Epstein and Gilles Deleuze. I am confronting and juxtaposing their theories with the thought contained in Film Fables and The Future of the Image to illustrate both existing similarities and differences that have resulted in the creative redefinition of the status of cinema and its productive potential that, however, is yet to come.
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Icelandic music documentaries represent an intriguing evolution of approach to the issues related to the expression of respect for tradition, history and collective memory. National identity for the characters of Friðrik Þór Friðriksson’s Rock in Reykjavik (1981) is a relic of the past and incomprehensible obsession of the older generation. Directed by Ari Magnússon Screaming Masterpiece (2005) presents Icelanders as a nation which is proud of its past and highly inspired by the history and traditions of their homeland. Another rockumentary, Heima (2007), emphasizes the social aspects of everyday re-creation of the national community, focusing on the small cultural differences and promoting the idea of local patriotism. Viking heritage, the originality and uniqueness of the Icelandic language and of its nature no longer interest the authors of the latest non-fictional productions that are created after the financial crisis of the year 2008.
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The essay is an attempt to understand what happened to Gulliver during his stay in Brobdingnag, the land of giants described by Jonathan Swift in his famous work. The author puts emphasis on the scopic experience that leads to an extremely meaningful deformation of sight. What Pierre Klossowski is calling a „Gulliverian vision”, the perversive movement of an artist’s primal instinct, was depicted also by Borges in the story of Funes And His Memory. „Scopic duress” means that there is no other way of looking – one has to embrace and comprehend delusional sight in the means of survival. The question remains: if one will be able to come back to that wchich is named by common ense as a „normal vision”.
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Article describes selected works of artist who use digital technologies in performative contexts. In 2014 curators of Ars Electronica festival invited artists which shown creative using of video game controllers (like Oculus Rift or Kinect) and more advanced technology to express their artistic concepts. Author describes performace of japan group Grinder-Man called Mirage and solo dance Anatta performed by polish dancer Joanna Gruberska, directed by Viktor Delev. Analysis of other works (interactive documental movie Clouds by James George and Jonathan Minard, Take a Number, Leave Your Head by Klaus Obermaier and Ars Electronica Futurelab, Gender Swap by BeAnotherLab) show new perspectives of using digital media in performing arts.
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The aim of this article is to analyze the main character of the Carlos Reygadas’ movie Battle in Heaven contextualizing it in a critical reflection on the image of masculinity in Latin America. The author is placing Marcos’ character in three contexts. First is the machismo ideology, which the author links with the sociological reflection by Erving Goffman about the meaning of appearance and forms of expression in social life. Second is an intersexual relation of domination-subordination. The author juxtaposes behavior and bodies of Marcos and his lover Ana to show that traditional women and men roles are reversed here. The third context refers to the problem of banalization of life, which the main character suddenly started to feel. In reference to this three phenomena unfolds existential crisis of Reygadas’ character. But it can be read both as an individual perspective of a moment of recognition of one’s condition and also in larger perspective as a metaphor of collapse of the paradigm of masculinity which was in force until recently in Latin American culture.The author recounts opinions of researchers of this area about the crisis of the male identity and shows that Marcos’ existential situation can be interpreted as a metaphor of men’s situation in Latin America. Masculinity and the category of machismo are there in a process of redefinition mainly because of the women’s emancipation and transformations of feminine identity. This situation causes imbalance in social-cultural life and the model of reaction frequently chosen by men is passivity. But then it causes decomposition of social order, because inactivity is traditionally assigned to women. Not able to take action Marcos can be seen as a figure of male identity in contemporary Latin America.
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Icelandic feature films shot in the Twenty-First century often contain an ironic critique of postmodern models of masculinity. The fictional figures that appear in those movies are often at odds with the traditional perception of national identity and suffer so-called “Peter Pan syndrome”. Moreover, many images created in Iceland after the year 2000 also include a witty reinterpretations of the media’s “generation X” model and suggestive commentaries on life in the liquid modernity. All these features of the male film figures can be seen as the personification of the changes taking place in Icelandic culture and the local community. These issues are associated with the processes of the collision of traditional values, linked with the older generation of Icelanders, with the globalized perception of the younger generations who are open to “pop-cultural outlook” on their country and identity.
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In four Polish movies – Dogs by Władysław Pasikowski, Private City by Jacek Skalski, Amok by Natalia Koryncka-Gruz and First Million by Waldemar Dziki – male friendship and its crisis was used to describe early phase of Polish capitalism. Each time the solidarity of men was valued positively and was confronted with threats connected with new, capitalist reality. Pasikowski’s movie criticizes new determinants of social prestige, Skalski’s movie expresses the disappointment of new, post-Solidarity political elite, Amok shows how young people lose out in the race for easy money, while First Million treats male community as a great support for getting rich. Free market economy promotes new ideal of citizen – enterpreising individual, who is interested in accumulation of capital and maximization of his profit. This new view of citizen is in conflict with values of Solidarity, which were rather close to ideas of socialism, like being in community. This four films comment on the new reality of Polish economia and ways of impact of free market on lifestyle, state transformation, business and the sphere of axiology.
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The aim of the paper is to describe the representations of masculinity in the works of James Broughton, an American avant-garde filmmaker and a poet, connected to the San Francisco Renaissance group. He has also played an active role in a gay movement since the ‘50s and became one of its icons. While analyzing Broughton’s movies the paper refers to Laura Mulvey’s concept of breaking the visual pleasure. The main goal of the paper is to trace changes occurring in the creation of a hero and narrator’s view in relation to their hetero- or non-heteronormativity. The author concentrates on the selected films from different periods of Broughton’s career, e.g.: The Adventures of Jimmy, The Bed, The Golden Positions, Song of the Godbody, Hermes Bird, Devotions. The paper argues that in Broughton’s works a viewer can find a shift from the creation of a male body as a constructed object of desire, through an attempt to deal with the theme of androgyny, to the affirmation of a non-canonical male body, which becomes the basis of the gay community.
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The author analyses the presence of androgyny and transsexuality mainly in fashion industry which fashion journalists and commentators like to see as a milestone in the fight for equality, stressing the ambivalence of marketing techniques and arguing that – similarly to Erving Goffman’s category of stigma – apart from having subversive potential it can also have an oppresive downside.
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The below article explores how the physical attributes of the ideal man vary between Western culture (Poland) and Eastern Asian Culture (China). We have analyzed how popular culture, media and commercials have changed our views on the ideal male beauty. The study also briefly shows men’s reactions to the representation of male bodies in advertising, particularly when men are portrayed in a sexual, objectified, exploitative manner. In this work we have focused on Polish and Chinese representations of men and male bodies in commercials that hold common features of Western and Eastern Asian cultures as well as distinctive characteristics of these two countries.
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The article describes the festival of computer-based art Cynetart as a place of artistic experiments with ‚rhythm of nature’. Artists which took part in the festival in 2015 were using matter of nature as an instrument of artistic expression. According to the author, performances and interactive installation which were presented in the festival are specific form of a continuation of Émile Jaques-Dalcroze’s and Adolphe Appia’s artistic experiments. Eurythmics and performance practice (which started in 1910 in the same place – Festspielhaus in Hellrau) invoke to eurythmics of Dalcroze and Appia’s conception of light in performing arts. Performances: Jymming by Tom Fritz, Eternal Cave by Gil Delindro and Plectrum by Kuai Shen, were also interpreted as a form of posthuman and ecological aesthetics.
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... la TRACE laissée pour l’éternité (quand mon corps n’existera plus) PATHÉTIQUE : Jerman Mais on ne tiendra pas compte du métier, de la prise ou du développement de la photographie. NON. „Crève la photo“, a écrit Jerman sur le papier photo en 1973. C’était le début de sa photographie élémentaire, le début de mon corps élémentaire.
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