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HYPOTHESIS. Il display espositivo come “processo filmico” e “macchina celibe” nella pratica artistica di Philippe Parreno
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Extended Cinema: The Performative Power of Cinema in Installation Practices
Get PDFThis essay will try to present the theoretical-conceptual points of a research route which concerns cinema’s modes of being in the “wider field” of art, in the form that is ontologically most distant from itself and which, nevertheless, acts with an intense “cinematic” performative force and a high degree of “modelling” impact. It is a complex modality which manifests itself through the “format” of installation where “the cinema,” starting from the discursive nucleus of the installed “work,” triggers, among the heterogeneous and disconnected elements that it might be composed of (sculptures, photographs, videos, objects), a series of relations regarding which it maintains a double utterance location: “internal” because it is one of the compositional elements (among others) and “external” because through it the performative path, which implicates the critical action in the spectator-visitor, is activated and revealed
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Collecting Lived Experiences. The Diary Film as an Anthology of Daily Life
No full textNell’opera di molteplici filmmaker contemporanei (Jarman, Caouette, Mekas, Sokurov, Morder, ecc.) il diario filmato si costruisce intorno a una poetica che fa leva sul testo plurale (Odin) e sulla forma aperta (Blanchot). Come una raccolta di istantanee filmiche, potenzialmente infinite, i diari filmati rappresentano una sorta di antologia dall’orientamento indefinito e personale (De Greef). Si tratta infatti di un processo in evoluzione che, a differenza del sistema di archiviazione, può essere per sua natura lacunoso. Se l’archivio può considerarsi equivalente a un’enciclopedia di casi, il più possibile esaustiva e corrispondente a criteri di selezione precisi e univoci, l’antologia può essere assimilata a una collezione di reperti ed esperienze senza alcun carattere di completezza né di irrevocabilità.
Nella presentazione del rapporto tra archivio e antologia si possono rilevare almeno due questioni a proposito dell’emersione della soggettività nelle pratiche diaristiche. La soggettività insinua un’apertura non arginabile all’interno dei materiali catalogati e introduce un elemento intrattabile e irriducibile (Nancy) a criteri di ordinamento universale. La catalogazione, intesa come pratica di produzione di mondi di significazione controllati e accessibili, viene attraversata dalla soggettività che riapre continuamente tali mondi introducendo in essi la propria natura incodificabile (Barthes). La presentazione di una serie di casi mostrerà come l’elemento soggettivo/unico/individuale possa sopportare e allo stesso tempo sfuggire i criteri di classificazione e i processi di ordinamento.In the works of many contemporary filmmakers (Jarman, Caouette, Mekas, Sokurov, Morder, etc.), the diary film corresponds to a poetics based on the plural text (Odin) and the open form (Blanchot). As a virtually infinite collection of filmic snapshots, the diary films represent a sort of anthology which has an undefined and personal direction (De Greef). It is indeed a developing process that, unlike the archive system, can be naturally defective. If on the one hand the archive can be considered as a complete encyclopaedia of cases, corresponding to accurate and univocal classification criteria, on the other hand anthology can be compared to a collection of finds and experiences, without any sign of completeness or irrevocability.
Considering the relationship between archive and anthology, we can notice at least two questions about the subjectivity’s appearance in diary practices. Firstly, the subjectivity inserts an opening in the classified materials and introduces an unmanageable element that cannot be reduced within a general criteria. Secondly, the collecting practices, seen as a way to produce controlled worlds of meaning is crossed by subjectivity that always reopens these worlds due to its uncoding nature (Barthes). Presenting a series of case analysis we will see how the individual/subjective element can bear and escape at the same time the classification criteria and the gathering processes
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