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Video, the Cinematic, and the Post-Cinematic: On Jean-Luc Godard’s Histoire(s) du Cinéma

Kim, Jihoon

Journal of film and video, 2018-07, Vol.70 (2), p.3-20 [Periódico revisado por pares]

Englewood: University of Illinois Press

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  • Título:
    Video, the Cinematic, and the Post-Cinematic: On Jean-Luc Godard’s Histoire(s) du Cinéma
  • Autor: Kim, Jihoon
  • Assuntos: 1930 ; Art galleries & museums ; Bergala, Alain ; Boards of trustees ; Cinema and Film Studies ; Criticism and interpretation ; Deleuze, Gilles ; Essays ; Film soundtracks ; Godard, Jean Luc ; Godard, Jean-Luc (1930-2022) ; Histoire(s) du cinéma (Motion picture) ; History ; Images of transformations ; Installation art ; Memory ; Methods ; Mixed media (Art) ; Montage ; Motion Pictures ; Movie directors ; Movie production ; Movies ; Moving images ; Multimedia ; Negotiation ; Ontology ; Photography ; Stress ; Superposition principle ; Theme
  • É parte de: Journal of film and video, 2018-07, Vol.70 (2), p.3-20
  • Descrição: [...]in his new venture into installation art, as shown in a large-scale exhibition coupled with a film retrospective and publication (Voyage(s) en Utopie: Jean-Luc Godard 1946–2006, May 11–August 14, 2006, Centre Georges Pompidou, Paris), Godard appeared to envision that cinema would now survive both through its journey into integrated multiple platforms and through the reconstruction of the museum as a multidimensional repository in which numerous artifacts and extractions manifest "the qualities discovered but forgotten by cinema" in the "revelatory connections between disparate elements" (Witt, "Shapeshifter" 88). [...]this new mixture decontextualizes the main theme's adherence to its original visual tracks and invokes different effects in each of its repetitions: in its appearances with a still from Wild Bunch (Sam Peckinpah, 1969); in a filmstrip reel with text ("Pour John Cassavetes"); in a flickering superimposition of a Picasso painting and a shot of a cowboys' rampage; in a famous scene of Glauber Rocha's "directing-paths" from Group Dziga Vertov's Vent D'est (Wind from the East, 1969); and subsequently with shots of Jennifer Jones's desperate writhing in Duel in the Sun (King Vidor, 1946). [...]the deceleration and the rewinding effects signal the act of remembering the Holocaust in a series of opaque black-and-white found footage in chapter 1(a) (a man's assault on a female) and 4(a), "Le Contrôle de l'univers" ("The Control of the Universe," 1998) (a woman's naked body moved by someone, with her arms and legs dropping). [...]I stress that cinema's multifaceted alignment with painting, photo, and video in Histoire(s), as well as video's multiple modalities in conjunction with cinema ("expanded montage-machine," "metacinema," "world-memory," and "synthesizer"), is emblematic of the post-cinematic conditions under which today's cinema redefines and transforms itself by negotiating with and containing its neighboring media forms, functions, and aesthetics.
  • Editor: Englewood: University of Illinois Press
  • Idioma: Inglês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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