Get Brechtian Cinemas: Montage and Theatricality in Jean-Marie PDF

By Nenad Jovanovic

ISBN-10: 1438463634

ISBN-13: 9781438463636

In Brechtian Cinemas, Nenad Jovanovic makes use of examples from decide upon significant filmmakers to delineate the diversity of the way within which Bertolt Brecht's proposal of epic/dialectic theatre has been followed and deployed in overseas cinema. Jovanovic significantly engages Brecht's rules and their so much influential interpretations in movie stories, from gear thought within the Seventies to the shortly dominant cognitivist method. He then examines a extensive physique of flicks, together with Brecht's personal Mysteries of a Hairdressing Salon (1923) and Kuhle Wampe (1932), Jean-Marie Straub and Daniele Huillet's History Lessons (1972), Peter Watkins's La Commune (2000), and Lars von Trier's Nymphomaniac (2013). Jovanovic argues that the position of montage--a imperative resource of creative estrangement (Verfremdung) in past Brechtian films--has decreased as a result of technique's conventionalization through ultra-modern Hollywood and similar industries. working as fundamental brokers of Verfremdung in modern movies encouraged by means of Brecht's view of the area and the humanities, Jovanovic claims, are conventions borrowed from the most medium of his expression, theatre. Drawing upon an enormous variety of resources and disciplines that come with cultural, movie, literature, and theatre stories, Brechtian Cinemas demonstrates a persisted and huge relevance of Brecht for the perform and figuring out of cinema.

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Extra resources for Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier

Example text

We are thus led to infer that the strategies of Verfremdung Brecht advocates are already embedded even in those artworks that Brecht would see as addressing our emotions rather than our reason, which makes his techniques superfluous. A few points need to be made about this postulate and Smith’s commentary on it. First, by stressing the Brechtian term Einfühlung (“identification”) in the introductory paragraph of his article, Smith neglects to acknowledge the development of Brecht’s own understanding of the relationship between “feeling” (Gefühl) and “reason,” reflected by Brecht’s replacement of the binary with that of “identification” (Einfühlung) and “reason” (Ratio) in the revised version of the dramatic/epic theater schema.

Indd 16 1/6/17 10:28 AM Introduction 17 Dramatic Theater Epic Theater plot narrative implicates the spectator turns the spectator into an observer, but in a stage situation wears down his capacity for action arouses his capacity for action provides him with sensations forces him to take decisions experience picture of the world the spectator is involved into something he is made to face something suggestion argument instinctive feelings are preserved brought to the point of recognition the spectator is in the thick of it, the spectator stands outside, shares the experience studies the human being is taken for granted the human being is the object of the inquiry he is unalterable he is alterable and able to alter eyes on the finish eyes on the course one scene makes another each scene for itself growth montage linear development in curves evolutionary determinism jumps man as a fixed point man as a process thought determines being social being determines thought feeling reason (Brecht on Theatre 37) The schema invites the reader to alternate between vertical and horizontal readings, and varies its focus from dramatic structure to dramatic spectatorship.

Cinema’s ideological effect that Baudry refers to, following Althusser, involves configuring the domain of the spectator’s natural existence as secondary in importance to that of the transcendental, of “the beyond,” which ultimately hinders her possibility of acting in the world politically. While not referring to Brecht, Baudry evokes him by placing his focus—and critique—on the process of spectatorial identification (with both the characters represented and the cinematographic apparatus itself) that the medium supposedly encourages.

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Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier by Nenad Jovanovic

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