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The author's purpose in this article is to demonstrate that Marguerite Duras's India Song (1975) constitutes a site of filmic resistance, in that it displays a lack of concern with ordinary dramatic presuppositions — the realist context, the regard for verisimilitude and spatio-chronologic ordering. This resistance makes of India Song a tragedy, a tragic film.
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Contemporary dance and plastic practices, which belong to an aesthetic of presentation, invite us not to add, to inflate the flow of life and thus not to slow down or to double the reality of another real fact of consciousness and representations necessarily different. In these practices of intensity, the notion of experimentation is important and gives full meaning to practices that do not favor results, the formal resolution of the work, but rather the dynamics of a proposition in action. Experimenting does not consist in composing dead objects but in implementing, in the immediacy of the moment, the sobriety of a direct contact with the raw reality. Duplication, which is a factual reality, tends to constitute itself as a rejection of the singularity of reality.
Keywords: Danse, miroir, duplication, représentation, réel, Danse, mirror, duplication, representation, real
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Through an examination of a series of post-Hollywood films whose explosion of the abject is a central concern, this article sets out to demonstrate the existence of a “viral” cinema which, developing out of a founding strain (Roger Corman's 1964 film The Masque of the Red Death), came to infiltrate and contaminate a number of films. In order to place this cinema's emergence in a theoretical context, the author initially examines the socio-cultural logic of decontamination driven by puritanism, and Jean Baudrillard's theses on the appearances of viruses in asepticized environments, demonstrating how the viral is a symptom of a culture which, in the course of removing “impurities,” generates its own pathologies. The viral is then examined metaphorically, as the reflection of the socio-political upheavals of the 1960s in North America. The demystifying dimension of the emergence of the viral in American cinema is then discussed using the theses of René Girard. By the end of the essay, the viral is shown to be a typically cinematic pathology : the “viral” horror film depicts the struggle between a virus and the cinematic body in which it develops.
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Comment faire voir avec l'absence? Comment dire dans le silence? Pari toujours déjà perdu, représenter l'irreprésentable s'articule comme la gageure éponyme qu'entend remporter la philosophie tragique. La parole, ne serait-ce que pour invoquer l'injonction du silence, est toujours en excès et compromet invariablement les visées d'une telle philosophie. Si elle s'autorise une seule entreprise, la philosophie tragique en fera celle d'un combat contre le langage, le destituant partout où elle le fait naître. Contradiction performative s'il en est, le projet philosophique de quérir la présence de l'absence à travers un langage qui sait se taire annonce d'emblée le caractère transgressif d'une démarche que ne peut endiguer aucune des limites du discours constructif. L'objet de cette recherche ne portera donc pas sur le tragique lui-même, duquel …
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Is the desocialization of aging and death as generalized as is said, and does this supposed process involve all aspects? In this article, we begin on the contrary with the hypothesis of a change in the social relationship to the aged and the dying, and thus the diverse contemporary treatments of dying are signs of new modes of socialization, for in each episode of aging and dying, the central issue of the social bond is of necessity invoked.
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AbstractThis article looks at how the film Dancing questions the issues of genre and gender. No specific markers are given as to how to read the film. Hence the “ungendered” character of the “Idiot” is performative of the image of the self-portrait of which he sets out the limits and boundaries.
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One bodily posture reappears throughout the cinematic work of Luchino Visconti. From the Spaniard in Ossessione, who gets to his feet after receiving a punch and leaves alone, to the character in The Innocent, who collapses after shooting himself in the head, we encounter in film after film the same figure of the man who falls down, wounded or dead. In these prostrate characters, who evoke, among other things, a Rimbaldian idleness and sensuality, what logic brings down Visconti's men? What truth is to be found in this immobility rather than in action, in the sudden coming to a halt rather than in the becoming? What force of resistance is expressed through these downtrodden bodies.