Alexandre Astruc’s canonical essay, ‘The Birth of a New Avant-Garde: La Caméra -Stylo’ (), is considered a key precursor in the study of cinematic. Digital video and Alexandre Astruc’s. caméra-stylo: the new avant-garde in. documentary realized? Bjørn Sørenssen Norwegian University of Science and T . La caméra-stylo. Alexandre Astruc. “What interests ine in the cinema is abstraction.’ (Orson Welles). One casinot help noticing that something is happening in the.
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There are, and have always been, alternative practices of cinema, and these practices utilise the medium otherwise, pursuing a path that Stiegler does not seriously consider in Technics and Time. The fundamental problem of the cinema is how to express thought. French New Wave and international new wave cinema.
Alexandre Astruc – Wikipedia
In either case, we have a clear example of the way technics not only facilitates knowledge, but also allows for its extension and transformation. Simply by using one’s eyes.
In this seriesStiegler reflects on the encounter, or non-encounter, between philosophy and technology. With all due respect to Nadeau, a Descartes of today would already have shut himself up in his bedroom with a 16mm camera and some film, and would write his philosophy on film: One of the fundamental phenomena of the last few years has been the growing realisation of the dynamic, i.
This is due to the basic fact that all films are projected in an auditorium.
By it I mean that the cinema will gradually break free from the tyranny of what is visual, from the image for its own sake, from the immediate and concrete demands of the narrative, to become a means of xlexandre just as flexible and subtle as written language. The majority of prisoners do not transform their life, or like him become philosophers.
Alexandre Astruc obituary
The fundamental problem of the cinema is how to express thought. Problems such as the translation into cinematic terms of verbal tenses and logical relationships interest us much more than the creation of the exclusively visual and static art dreamt of by the surrealists.
It is through his encounter with a series of technical instruments — the alphabet which gave him access to words and languagepen and paper which allowed him to articulate his ideas in an exteriorised form — that Stiegler was able to develop his thoughts and transform himself from a convict into a philosopher. Either the emphasis is placed on the auteur or on the film-as-text or on the historical and technical history of the medium; but what rarely occurs is the attempt to think through these topics in relation to one another ; to see these elements as inter-dependent and co-constitutive, the result of an encounter between a number of elements, human and non-human, technical and industrial.
But it takes on fresh importance when placed in dialogue with recent developments in film and media theory, from the film-philosophy movement of the past decade to the work on technics by Bernard Stiegler and others.
The theme, a feminist one, concerned a wife Annie Girardotwho tires of merely being a social asset to her husband and finds an outlet by running an art gallery and taking a lover. The majority of users will do nothing special with these technologies, their lives will carry on more or less the same; but what is important is the transformative value these technics may have for one person, for one individual, who transforms the device, allows it to evolve, while also transforming themselves — as well as those who come into contact with their work in the near or distant future.
He envisions a future.
By language, I mean a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel. Being a Dig Georges Didi-Huberman.
Introduction to “The Future of Cinema” by Alexandre Astruc
This is how Stiegler initially trained for a life in philosophy. The most philosophical meditations on human production, psychology, metaphysics, ideas, and passions lie well within its province. This dream took longer to materialize, and it subsequently manifested itself in diverse ways in the works of people scattered about the globe: The films will come, they will see the light of day – make no mistake about it.
According to Ben Roberts: We have to ask: The films of Hawks go much further in the knowledge of man than so-called Underground analyses and studies do. Stanford University Press,pp. Stiegler is not camsra to suggest that film and other related media technologies have troubling components; after all, cinema does evolve into big business that attempts to maximise profits through a set of principles or rules that function to delimit the uses to which the technology might be put.
It must be understood that up to now the cinema has been nothing more than a show. And would Canera Kane be satisfactory in any other form than that given to it by Orson Welles?
To ignore the conjunction of human and technology is thus not only to leave unremarked an essential component in man’s evolution, but also to leave technology in the hands of technocrats and industrialists. In their hands, Balzac becomes a collection of engravings in which fashion has the most important place, and Dostoievsky suddenly begins to resemble the novels of Joseph Kessel, with Russian-style drinking-bouts in night-clubs and troika races in the snow.
Let us not forget, in this context, that the Technics and Time series was written in the s.