“An eye that saw more lofty things than mortal eye is now struck blind” (Hölderlin): German politics and aesthetics in Jean-Marie Straub and Danièle Huillet’s Der Tod des Empedokles (1986) and Jean-Luc Godard’s Allemagne année 90 neuf zéro (1991)

IF 0.4 Q3 CULTURAL STUDIES
Karel Pletinck
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Abstract

ABSTRACT The sudden flourishing of reflections on light, nature and poetry that occurred from the mid-80s onwards in the cinema of Jean-Luc Godard, Danièle Huillet and Jean-Marie Straub, could not fail to surprise. Between their reputation as Brechtian, materialist filmmakers and these seemingly apolitical reflections, developed in conjunction with their appeal to Hölderlin’s “idealist” poetry, there seems to be an insurmountable rift. By situating their aesthetics in the broader framework known as “aesthetic modernity”, i.e. art and philosophy of art since the end of the 18th century (cf. J.M. Schaeffer, J. Rancière), I demonstrate how films such as Der Tod des Empedokles (1986) and Allemagne année 90 neuf zéro (1991), not so much exhibit a shift to conservatism with this “sudden” interest in nature and poetry, but, rather, the manifestation of a Romantic contradiction characteristic of modern aesthetics. In a period of disillusionment, these “Brechtian” filmmakers increasingly turned to a German literary and philosophical tradition that praised the “revelationist” potential of poetry, while they, simultaneously and still with revolutionary fervour, reflected on Germany’s troubled political past and present. I will argue that we can understand this alignment of revolution and revelationism from the perspective of their indebtedness to an antimodern worldview that perceives of the modern age as being in decline, to which these filmmakers oppose a utopian striving towards a “new world”, captured in a Romantic discourse of light and vision.
“一只眼睛,看到眼睛比凡人更崇高的事情现在发生盲”(荷尔德林):德国政治和美学在版- Straub写和丹尼尔·Huillet Der Tod des Empedokles(1986)和让-吕克·戈达尔的Allemagne annee 90九0 (1991)
抽象的突然繁荣反思光,自然和诗歌发生从80年代中期开始让-吕克·戈达尔的电影,丹尼尔Huillet版- Straub写的,不可能没有惊喜。在他们作为布莱希特式的唯物主义电影人的声誉和这些看似无关政治的反思之间,似乎存在着一条不可逾越的裂痕,这些反思与他们对Hölderlin“理想主义”诗歌的吸引力相结合。通过将他们的美学置于被称为“美学现代性”的更广泛的框架中,即自18世纪末以来的艺术和艺术哲学(参见J.M. Schaeffer, J. ranci re),我展示了诸如《Der Tod des Empedokles》(1986)和《Allemagne annaceme 90 neuf zacimro》(1991)之类的电影如何表现出对自然和诗歌的“突然”兴趣向保守主义的转变,而是现代美学特征的浪漫主义矛盾的表现。在一段幻灭的时期,这些“布莱希特式”的电影人越来越多地转向德国文学和哲学传统,赞美诗歌的“启示主义”潜力,同时,他们仍然带着革命的热情,反思德国混乱的政治过去和现在。我认为,我们可以从他们对反现代世界观的负债的角度来理解革命和启示主义的这种结合,这种世界观认为现代正在衰落,这些电影制作人反对一个乌托邦式的努力,朝着一个“新世界”前进,用浪漫主义的光和视觉话语来捕捉。
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来源期刊
CiteScore
0.80
自引率
33.30%
发文量
15
审稿时长
14 weeks
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