{"title":"表演之美:《神圣汽车》中的人物电影和疯狂的巴洛克风格","authors":"Saige Walton","doi":"10.5117/NECSUS2014.1.WALT","DOIUrl":null,"url":null,"abstract":"leos carax’s metamorphic Holy Motors (2012) has been received as evading conceptual, physical, and cinematic coherence. drawing on gilles deleuze’s concept of the fold and Nicole Brenez’s work on the figural powers of the cinema, this article argues that carax’s film reprises the aesthetics of a delirious baroque. re-evaluating the relevance of the baroque for carax and for cinema, it identifies the delirious baroque as an embodied aesthetics of movement, materiality, and multiplicity as well as vision.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"13 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"3","resultStr":"{\"title\":\"The beauty of the act: Figuring film and the delirious baroque in ‘Holy Motors’\",\"authors\":\"Saige Walton\",\"doi\":\"10.5117/NECSUS2014.1.WALT\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"leos carax’s metamorphic Holy Motors (2012) has been received as evading conceptual, physical, and cinematic coherence. drawing on gilles deleuze’s concept of the fold and Nicole Brenez’s work on the figural powers of the cinema, this article argues that carax’s film reprises the aesthetics of a delirious baroque. re-evaluating the relevance of the baroque for carax and for cinema, it identifies the delirious baroque as an embodied aesthetics of movement, materiality, and multiplicity as well as vision.\",\"PeriodicalId\":174743,\"journal\":{\"name\":\"Necsus. European Journal of Media Studies\",\"volume\":\"13 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"3\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Necsus. European Journal of Media Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5117/NECSUS2014.1.WALT\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Necsus. European Journal of Media Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5117/NECSUS2014.1.WALT","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
The beauty of the act: Figuring film and the delirious baroque in ‘Holy Motors’
leos carax’s metamorphic Holy Motors (2012) has been received as evading conceptual, physical, and cinematic coherence. drawing on gilles deleuze’s concept of the fold and Nicole Brenez’s work on the figural powers of the cinema, this article argues that carax’s film reprises the aesthetics of a delirious baroque. re-evaluating the relevance of the baroque for carax and for cinema, it identifies the delirious baroque as an embodied aesthetics of movement, materiality, and multiplicity as well as vision.
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