Showing posts with label Jean-François Lyotard. Show all posts
Showing posts with label Jean-François Lyotard. Show all posts
26.9.13
ACINEMA
11:19 AM
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"...Lyotard, by way of contrast, advocates an 'acinema'
that does not trade in fixed identities (not even formal identities, of
the sort involved in visual rhymes and repeated figured) and
recognizable situations (that is, situations whose doubling existence
repeats what we know of the world, to ensure that it can be folded back
into the world)... It
is a cinema of intense agitation. “Cinematography” means writing
movement: in learning cinematography in film schools, one acquires a
training in discriminating between “good” and “bad” movements: good
movements are commodifiable movements, valued in a strict capitalist
sense—good movement, Lyotard suggests in his article “Acinema” is
deemed valuable “because it returns to something else . . . it is thus
potential return and profit.” Scenes that are “dirty, confused,
unsteady, unclear, poorly framed, overexposed” are deleted—it
eliminates all impulsional movement (whether representational or
abstract) that escapes identification and recognition and will not give
itself for reduplication. Against that, Lyotard’s vanguardism
advocates a cinema that does not depend on unity and balance, but on a
constant movement of rupture. Lyotard’s rethinking of Freud’s dynamic
model of energy rejected the privilege that Freud attached to the
discharge of energy and the return to the homeostatic condition. Energy
(arousal), for Lyotard, is delight, bliss—so he reconceived jouissance,
taking it not as discharged, not as having as its objective to return
us to the calmed state (that foretells the thanatic extinction of
desire), not as a rétournement, but, rather, as a pure activity, a détournement
(cf. sublimation, in the literal sense) that misspends energy
purposefully. Acinema, Lyotard notes, by writing with movements that go
beyond the point of no return, spills “the libidinal forces outside
the whole, at the expense of the whole (at the price of the ruin and
disintegration of this whole).” Borrowing from Artaud’s ideas on the
theatre of cruelty, Lyotard suggests that the purpose of the acinema is
to make victims of its spectators/auditors, by generating anxiety,
agitation, or emotional turmoil—for it is on the side of intensity, on
the side of life against death. Rather than good (unified and
reasonable) forms, the dynamics of acinema, presented to the
immobilized viewer/auditor, “give[s] rise to the most intense agitation
through its fascinating paralysis.” The excess of movement renders a
cinema’s medium opaque: it does not offer us that hope that one can see
through it to that harmonious presence for which the conventional
cinema, in its reactionary nostalgia, yearns. Thus, again, acinema is a
savage cinema, for in it, the medium asserts itself, brutally, as its
images and sounds relay unresolvable intensities. Attending to it, one
comes apart, as by a knife, under its divers movements. Without
identifying (naming) what is happening on screen, we sense it
viscerally—feeling it in our muscles and our bodies."
- Bruce Elder's Acontecimientos 2012 for Lumière
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from Wide Angle vol. 2, no. 1978
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Labels:
ACINEMA,
Bruce Elder,
Jean-François Lyotard,
Lumière,
Wide Angle
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