Espectros futuros

A fantasmagoria é um tipo de espetáculo ilusionista de projeção de imagens surgido no século XVIII, pautado pela atração e o medo gerados por manifestações espirituais. A imagem translúcida que ela simulava foi apropriada pelo cinema e ganhou novos sentidos ao longo do tempo. Com um novo grau de ressignificação de qualidade descorporificada e sobreposta de elementos da imagem, o filme 3x3D (França / Portugal, 2013) é composto por três segmentos, dirigidos, pela ordem da montagem, por Peter Greenaway, Edgar Pêra e Jean-Luc Godard. Todos exploram o 3D com proposta de experimento estético. O segmento de Greenaway, Just in time conta com o diferencial da sobreposição de imagens em multicamadas. O intuito deste artigo é investigar influências da fantasmagoria na construção visual que a cinematografia estereoscópica pode adotar por meio da montagem espacial e como esta se distancia criativamente delas, em novos limites e potencialidades da imagem digital.

Complicating Articulation in Art Cinema

Complicating Articulation in Art Cinema argues that art cinema, unlike classical film, draws attention to its disjointed, multi-parted form, but that criticism has too frequently sought to explain this complexity away by stitching the parts together in totalizing readings. This stitching together has often relied on the assumption that complicated character explains articulated form and that the solution to art cinema’s puzzles lies in interpreting each film as the expression of a focalizing character’s internal disturbance. This book challenges this assumption. It argues that the attempt to explain formal complexity through this character-centric approach reduces formal achievements and enigmatic characters to inadequate approximations of one another. Reference to character cannot fully tame unschematic and unpredictable combinations of—and collisions between—contradictory levels of narration, clashing styles, discontinuously edited shots, jarring allusions, dislocated genre signifiers, and intermedial elements. Through close analyses of films by Roberto Rossellini, Robert Bresson, Luis Buñuel, Terence Davies, Peter Greenaway, and Kelly Reichardt, Complicating Articulation in Art Cinema offers an ethics of criticism that suggests that the politics of art cinema’s eccentric form are limited by character-centred readings. Each of the featured films presents inarticulate or muted characters, whose emotional and intellectual lives are unknowable, further complicating the relationship between character and form. This book argues that, by acknowledging this resistance to interpretation, critics can think in new ways about art cinema’s interrogation of the possibilities of knowledge.

Introduction

The chapter-length introduction situates the book’s subject matter within a broad interdisciplinary field, and specifically in relation to the theory of intermediality in theatre and performance, the burgeoning audiovisual studies, and the “material turn” in opera scholarship. Approaching opera as hypermedium draws attention to the continuity between operatic past and present, and between different media and art forms, old and new. Productions of Wagner’s Ring Cycle by Robert Lepage and La Fura dels Baus serve here as a starting point for consideration of opera’s inherently hypermedial aspects. Pieces by Philip Glass, Michel van der Aa, and others help contextualize the book’s central case studies, the operas by Dutch composer Louis Andriessen and British filmmaker Peter Greenaway, which epitomize the ways these aspects are rethought today. To outline the book’s theoretical framework, the introduction revisits some classic nodes in the debates about presence and representation and about liveness and mediatization.

Decoding Tableaux Vivants: the Metareferential Potential of Painterly References in Cinema

The article focuses on the intermedial relationship between cinema and painting, viewed as a self-referential process, and tries to determine various ways in which this type of signifying process can be used to “encode” various messages (within the work itself), or become an integral part of this (meta)communicative operation. Starting from a broad definition of intermedial references and continuing with a brief recontextualized detour through Gérard Genette’s taxonomy of transtextual instances, the author narrows down a specific technique that exemplifies this type of “codifying” procedure, namely the tableau vivant. In accordance with Werner Wolf’s proposed terminology, he attempts to determine the metareferential potential of this extra-compositional self-referential technique. The case studies focus on films by Peter Greenaway and Lars von Trier.

Peter Greenaway: A Demonstration of Research-Based Art With an image essay by Amir Avraham

Does artistic research differ from scientific research? And if so, how? In an attempt to answer these questions, my starting position is that when it comes to artistic research, we should use 'research' to achieve a specific goal—i. e., making better art. But at the same time, when we use 'art' in 'scientific research,' the goal will always be science. By that I mean science defined as the search for truth, and art as the search for the aesthetical. I am, of course, aware that this is an extremely binary categorisation, but I do hope it gives us some didactic clues to work in the domain of art research. By introducing research-based art as a concept, I even hope to narrow the gap. In examining research-based art as a method that uses research for the purpose of making art, I use Peter Greenaway's film The Cook, The Thief, His Wife & Her Lover (1989) as a case study. Here, we see both the artist as a researcher and art research as research-based art—an artist-researcher who creates an independent artistic composition by using at his own discretion the accepted results of research.

Literature and Film Art

This editorial aims to cover the content of the presented issue of „Tekstualia”. It provides an introduction to the multifaceted problem of the relationships between literature and cinematic art. The text (according to the remarks of Alain Badiou, Peter Greenaway, Andre Bazin, Seweryna Wysłouch, etc.) discusses the widespread thesis of, allegedly diminishing, subservience of the cinematography to the literature’s domain. Furthermore, this article offers an overview of the scientific papers (and other publications) included in the „Tekstualia” issue.

Le Grand Musée. Altri sguardi sul Louvre

Beyond the much discussed but certainly meaningful experience of the opening in 2017 of the Abu Dhabi satellite museum, a controversial example of a global museum, the Louvre has not lost in the passage between the two centuries the ability to present itself as an updated museological research space. Proof of this is the series of exhibitions Parti pris (1990-1998) where, thanks to the direction of the “dissident” art historian Régis Michel, intellectuals of various backgrounds – Jacques Derrida, Peter Greenaway, Jean Starobinski, Hubert Damisch, Julia Kristeva – have reinterpreted the collections of the museum through exhibitions of an overtly subjective and undisciplined nature. So, the Parti pris project was, in Michel’s words, a “zone of freedom and break” in the heart of the institution, questioning not the prestige but rather its too rigid and monumental identity. This proposal was partly taken up by Jean-Marc Terrasse, director of the auditorium and cultural events of the Louvre from 2005 to 2014, with his “special invitations” for protagonists of international culture, to build alternative and eccentric narratives through history, works and spaces of the Louvre. This essay, which analyzes in particular the contribution of the nobel for literature J.M.G. Le Clézio, curator of the project Les musées sont des mondes (2011), highlights the critical value and the urgency of these exhibition proposals thanks to which the museum becomes the driving force of a reflection which, overcoming conventional disciplinary distinctions, is able to urge the public to new views and different aesthetic and ethical perspectives.