Documentary Time: Film and Phenomenology (Visible Evidence)

By Malin Wahlberg

Finding the theoretical area the place cinema and philosophy meet, Malin Wahlberg’s refined method of the event of documentary movie aligns with makes an attempt to reassess the premises of existential phenomenology. The configuration of time is important in organizing the sensory impacts of movie ordinarily yet, as Wahlberg adroitly demonstrates, in nonfiction movies the matter of coping with time is writ huge via the relocating image’s interplay with social reminiscence and historic figures.

 

Wahlberg discusses a thought-provoking corpus of classical and up to date experiments in movie and video (including Andy Warhol’s movies) within which artistic techniques to the time of the picture and the capability archive reminiscence of filmic illustration illuminates meanings of temporality and time event. She additionally bargains a methodological account of movie and brings Deleuze and Ricoeur into discussion with Bazin and Mitry with regards to cinema and phenomenology.

 

Drawing recognition to the cultural value of the pictures’ imprint as a hint of the prior, Documentary Time brings to endure phenomenological inquiry on nonfiction movie whereas whilst reconsidering the existential dimensions of time that experience continuously wondered humans.

 

Malin Wahlberg is a examine fellow in cinema experiences at Stockholm University.

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This in simple terms technical influence can produce in us the unhappiness of farewells and of the impermanence of items. occasionally its impact is like that of a splash in a written textual content, occasionally like a row of complete stops after a sentence, leaving it open, occasionally like a gesture of leave-taking, a mournful gaze after anything that has departed for ever. yet perpetually it signifies the passing of time. 27 Balázs’s reflection at the fade-out stresses the affective point of pace in film. With cinematic units reminiscent of a decelerated circulation, a lingering framing, or the literal enclosure of a fade-out, the atmosphere of the narrative can be symbolically accomplished.

Sixty two the choice appears an overly subjective place, the place the kinesthetic topic is traced in the scholar’s adventure. At one aspect Sobchack refers to her emotional reaction to Jane Campion’s film The Piano (New Zealand, 1998): i would like to flooring my prior dialogue “in the flesh. ” In my flesh, in reality— and its significant responsiveness to and comprehension of a precise film, right here The Piano. although intellectually not easy by way of its sexual and colonial politics, Campion’s film moved me deeply, stirring my physically senses and my experience of my physique.

35. 36. one hundred sixty in Skrien a hundred (October 1980): 1–14, 28. Quote at web page 1; my translation of the subsequent: “Eens op de honderd keer zien wij: de film. Voor de leisure zien wij: bioscoop. De kudde, het commercieele regime, Amerika, Kitsch. ” show up Filmliga Amsterdam, 1; my translation of the subsequent: “In het seizon 1927–1928 zullen wij te Amsterdam geven een 12-tal matinées op Zaterdagen waarop wij telkens, als première voor Nederland, zullen vertoonen éen groote, niewe film, die op belangstelling van een werkelijk kunstzinnig publiek recht heeft.

The place Painlevé confirmed an ironic distance to the reality declare of technological know-how cinema, Mol remained captivated with the microcosms of vegetation and minerals. 32 regardless of this suspicion of a reframing and allegorization of the flora and fauna, a lot of Mol’s films show a hope of the gaze and a poetic contemplation that lead past the putative transparency of academic cinema. those, including a dose of humor, are obvious in De tijd en de film (Time and the movie, The Netherlands, 1928)—one of Mol’s extra conceptual techniques to the time of the film picture.

23 (in Deleuze:) 27–28; (In Vertov:) 68–69. In Vanda’s Room, 91–95 Ivens, Joris, five, sixty eight, eighty three, 159n. thirteen, 160n. sixteen J James, David, 89, 161n. 14, 162n. 22 Janicaud, Dominique, 24–25, 28, forty, sixty three, 147, 155n. eleven, 158n. 70, 162n. 17 Jeanne Dielman 23 quai du trade 1080 Bruxelles, 93–95 JFK, forty seven Jost, François, ninety four, 162n. 29 ok Kant, Immanuel, xii, 39 Kinésis, 23 King, Rodney, a hundred twenty five, 141 Kiss, 89 Kon-Tiki, 35–36 Krauss, Rosalind E, sixty five, 159n. 6 L woman within the Lake, 154n. fifty six los angeles Jetée, ninety Lanzmann, Claude, fifty five, fifty eight l. a. travel Eiffel, eighty one Leenhardt, Roger, seventy nine, 161n.

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