By Nenad Jovanovic
In Brechtian Cinemas, Nenad Jovanovic makes use of examples from decide upon significant filmmakers to delineate the diversity of the way within which Bertolt Brecht's notion of epic/dialectic theatre has been followed and deployed in overseas cinema. Jovanovic severely engages Brecht's principles and their such a lot influential interpretations in movie experiences, from equipment conception within the Nineteen Seventies to the almost immediately dominant cognitivist procedure. He then examines a vast physique of movies, together with Brecht's personal Mysteries of a Hairdressing Salon (1923) and Kuhle Wampe (1932), Jean-Marie Straub and Daniele Huillet's History Lessons (1972), Peter Watkins's La Commune (2000), and Lars von Trier's Nymphomaniac (2013). Jovanovic argues that the function of montage--a primary resource of inventive estrangement (Verfremdung) in previous Brechtian films--has reduced as a result of technique's conventionalization through brand new Hollywood and similar industries. working as fundamental brokers of Verfremdung in modern movies encouraged via Brecht's view of the realm and the humanities, Jovanovic claims, are conventions borrowed from the most medium of his expression, theatre. Drawing upon an enormous variety of assets and disciplines that come with cultural, movie, literature, and theatre reports, Brechtian Cinemas demonstrates a endured and large relevance of Brecht for the perform and knowing of cinema.
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Additional resources for Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier
Indd 18 1/6/17 10:28 AM Introduction 19 Week-End (1967). ” The former impulse was expressed in the film’s numerous and earnest homages to various symbols of America, from revolvers to convertible cars and from Humphrey Bogart to William Faulkner, whereas the latter impulse manifested itself in the film’s rejection of the transparency associated with the classical style. Namely, Breathless replaces the standard combination of three-point lighting and slow stock with available lighting and fast stock, smooth tracking shots with jittery handheld ones, and—most (in)famously—continuity editing with jump cuts.
The immense amount of photo-material that the presses spew out on a daily basis and which does not have the appearance of truth really only serves to obscure the facts. The camera can lie just like the typesetting machine” (qtd. in Soldovieri 143). Embedded in the latter statement is an analogy between verbal (arbitrary) and visual (non-arbitrary) signs.
Carroll was the first critic of cognitivist orientation to offer a lasting commentary of pertinence to the application of Brecht to film. In Mystifying Movies (1988), he attacks Brecht for setting the ground for “SLAB” theory’s conflation of illusionism and representation (91). The former term is, he notes, inadequate to describe the effect on the spectator of a mimetic representation, as it—unlike visual illusions proper— does not rest on deceiving the recipient (93). Building upon that, Murray Smith notes in his “The Logic and Legacy of Brechtianism” (1996) the causality poststructuralist film theorists posit between the illusionism of mainstream films and spectatorial empathy.