静止电影院*

IF 0.4 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

OCTOBER Pub Date : 2021-09-01 DOI:10.1162/octo_a_00433

Tom McDonough

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引用次数: 0

摘要

“静止的电影”考察了1968年前后情景主义国际的电影理论和实践。本文质疑居伊·德波拒绝记录该团体参与1968年5 - 6月流产的革命，探讨了情境主义者对图像作为记忆手段的矛盾心理。然而，他们拒绝电影的标志性并不意味着完全拒绝它的逻辑:在起义期间，SI制作的简朴的、基于文字的海报在这里被解读为一种革命的字幕，为一部在街头实时播放的电影。分享象征的质量在同一时刻发现丹尼尔·布伦和让-吕克·戈达尔的工作,这个情景无形象的电影是先读通过重复的辩证法和停止由乔治•阿。

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Cinema at a Standstill∗

Abstract “Cinema at a Standstill” examines the theory and practice of film within the Situationist International, circa 1968. Questioning Guy Debord's refusal to document the group's participation in the abortive revolution of May-June ‘68, the essay explores the Situationists' ambivalence to the image as mnemonic device. Their refusal of film's iconicity did not, however, mean a complete refusal of its logic: The austere, text-based posters produced by the SI during the uprising are here read as a species of revolutionary intertitle for a film running in real time along the streets. Sharing the aniconic quality found at the same moment in the work of Daniel Buren and Jean-Luc Godard, this Situationist imageless cinema is read through the dialectic of repetition and stoppage first developed by Giorgio Agamben.

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来源期刊

OCTOBER HUMANITIES, MULTIDISCIPLINARY-

CiteScore

0.10

自引率

33.30%

发文量

期刊介绍： At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.