Brechtian Cinemas: Montage and Theatricality in Jean-Marie - download pdf or read online
By Nenad Jovanovic
In Brechtian Cinemas, Nenad Jovanovic makes use of examples from decide upon significant filmmakers to delineate the diversity of how during which Bertolt Brecht's notion of epic/dialectic theatre has been followed and deployed in overseas cinema. Jovanovic severely engages Brecht's rules and their such a lot influential interpretations in movie reports, from equipment idea within the Nineteen Seventies to the almost immediately 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 function of montage--a important resource of creative estrangement (Verfremdung) in previous Brechtian films--has lowered as a result of technique's conventionalization by means of state-of-the-art Hollywood and similar industries. working as basic brokers of Verfremdung in modern motion pictures encouraged via 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 unlimited 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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Additional resources for Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier
Smith downplays the difference between arbitrary signs (such as linguistic ones) and non-arbitrary signs (such as the iconic and indexical signs used in much of theater and cinema). To that end, he uses an example from literature in a discussion of how an aesthetic context transforms the perceiver’s emotions into “quasi-emotions” (133). He quotes the Russian Formalist critic Victor Erlich, for whom the word “blood”—when used in a poem—“becomes an object of esthetic contemplation rather than a catalyst of fear, hatred, or enthusiasm” (qtd.
First, it carries the unwanted implication that spectatorial responses of weeping and laughter belong to an order essentially different from that represented by leaving the theater house in panic or interacting with the people and objects onstage. Of course, reality proves otherwise: the former kind of reactions are no more characteristic of artwork reception than of other contexts, and we respond to everyday life phenomena in a wide range of ways, often merely observing situations that allow—and call for—direct involvement.
Indd 22 1/6/17 10:28 AM Introduction 23 in the arrival of the new and true ideology which will correspond to the real” (23). MacCabe links the above thinkers to Brecht via the latter’s view of the film spectator, as expounded in his article “The Threepenny Lawsuit” (1931, published 1932). As MacCabe summarizes Brecht’s position on the medium, the cinema possesses the “ability to place the spectator in the position of a unified subject that ensures the contradiction between his working activity which is productive and the leisure activity in which he is constantly placed as consumer” (24).
Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier by Nenad Jovanovic