1,721,105 research outputs found
Il fantasma di Anne-Marie. Duras e il cinema dell’immaginario
No full text"The art of cinema turns off the text, kills its own offspring: the imaginary. This is its virtue: to close. Blocking the imaginary. This block, this closure is called a film." These words by Marguerite Duras prelude to the attempt at a new, completely different way of making cinema, experimented by the author since the 1960s. The article aims to focus on the opening to the imaginary, to the possible, to the ghost, that is the typical opening of the cinematographic works of Duras. Particular reference will be made to India Song (1975) and to the character of Anne-Marie Stretter, the artist's childhood ghost who reappears in novels and films as a fatal figure
Estetica fatale
No full textIn the Western thought the aesthetic experience is mostly explained as an encounter between subject and object where the latter holds the role of stimulus, occasion, and the subjectivity of the user (or of the author) remains, somehow, the protagonist, central and active. The article wonders whether it is possible to describe the aesthetic experience in a different way, assigning to the object a more central role, more powerful. The thought of Jean Baudrillard – with the notions of seduction and fatality developed between the late seventies and early years eighty – can be particularly useful just in order to describe the aesthetic experience as an event in which the subject is taken, captured by the object
Immagine digitale e persistenza del cinema
No full textThe essay analizes the transformations suffered from the cinema with the advent of digital technology and the theories that hypothesize the disappearance of film (Baudrillard, Virilio, Debray). The author affirms that cinema resists as model for new media and as experience of the spectator, despite these transformations. Finally, the essay suggests to abandon the ontological question for a phenomenological description. This description allows to identify some similarity between digital cinema and painting
Real and Immanence in Cinema
No full textThe pair Real and Immanence makes reference to two concepts employed respectively by the psychoanalyst Jacques Lacan and the philosopher Gilles Deleuze. My proposal is that there is a strong affinity between these two concepts, and that they can contribute to clarifying a specific capacity of art, in particular that of cinema. According to scholars who criticize the application of psychoanalysis to the arts, psychoanalysis always misses what should be its object – the work of art – studying the artist’s unconscious (or characters’ unconscious) or the unconscious of the viewers1. I think, rather, that it is possible to study the phenomenon of art using some psychoanalytical concepts, at the same time considering art in its formal procedures and not only in its narrative or figurative contents. I believe that considering artistic content as if it was a shell containing the unconscious of the author that leads fatally to a failure of interpretation2. Instead, observing and pointing out the similarities between ordinary psychic processes and the experiences that we all have of art, cinema, in this case, is a decisive step towards clarifying some aspects of its nature and its features. In such a perspective, aesthetic experience is an experience that cannot be dissolved in ordinary life, because it maintains its own specificity, but it is not totally separate (something considered as a luxury, something that you can consider at the end, when the needs of other more “serious” dimensions of our existence have been satisfied). During the aesthetic experience of a work of art, or that of a film rich with aesthetic qualities, the constituent aspects of nature and human life appear visible, enhanced, intensified, and reconfigured. I therefore propose to think in this way the interplay between aesthetics and psychoanalysis, on the questions of the Real and Immanence: aesthetic experience is a space where some psychic processes of ordinary experience appear in a more intense way
Baffi e martello. Sulla macchinazione filosofica: su P. Vignola, La funzione N. Sulla macchinazione filosofica in Deleuze, Orthotes, Napoli-Salerno, 2018
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