Papers by Christa Blümlinger
Cinemas Revue D Etudes Cinematographiques, 2014
"This book, as does the exhibition HF|RG conceived by Chantal Pontbriand, explores four of t... more "This book, as does the exhibition HF|RG conceived by Chantal Pontbriand, explores four of the recurring concepts to be found in their work: the Archive, the Non Verbal, the Machine and Montage" -- p. [4] of cover.
Christa Blümlinger: Sie beschäftigen sich seit langem mit Filmgeschichte und haben sich gleichzei... more Christa Blümlinger: Sie beschäftigen sich seit langem mit Filmgeschichte und haben sich gleichzeitig immer wieder als konstruktiver Kritiker historiographischer Methoden betätigt. Ihre Arbeiten weisen jedenfalls weit über das Fach des Filmhistorikers hinaus. Wie würden Sie sich selbst bezeichnen? Als F ilmhistoriker? Kulturhistoriker? Kulturwissenschaftler? Filmwissenschaftler? Filmtheoretiker? * Thomas Elsaesser ist Professor für Filmwissenschaft an der Universität von Amsterdam. Von 1972 bis 1991 lehrte er Englische Literatur, Film und Komparatistik an
Edinburgh University Press eBooks, Jun 6, 2019
Dictionnaire d'iconologie filmique
Fritz Langs Liliom of 1934, which was made in France and marked a significant stage in the direct... more Fritz Langs Liliom of 1934, which was made in France and marked a significant stage in the director's career between Berlin and Hollywood, anticipates the courtroom scene from Fury, a film famous for its social realism. The spectator is in both cases elevated into the position of a privileged witness, because he is shown things, which have already happened or are being retold. These constitute not simply repetitions of a certain event in identical or digressing versions for the sake of narration, they rather represent the power of the cinematic apparatus, the power of the structuring gaze of the film. Bringing the film to a halt within the film, does not only immobilize the story, but also represents a symbolic endeavour to revoke history. The crime, which in Das Testament des Dr. Mabuse of 1933 runs its inescapable course, can in the fictional heavens of Liliom always be revised by repetition and standstill, and later - as in Fury - be dealt with by the means of democracy.Fritz...
Das Wahrnehmen filmischer Bilder ist genuin an Gedächtnisprozesse gebunden, die sowohl kulturelle... more Das Wahrnehmen filmischer Bilder ist genuin an Gedächtnisprozesse gebunden, die sowohl kulturellen wie auch individuellen Ursprungs sind. Vor diesem Hintergrund soll im Vortrag das Phänomen der Reprise in Zusammenhang mit dem Dispositiv der Projektion betrachtet werden, das sich genau dadurch auszeichnet, dass es Bilder zur Erscheinung bringt, indem es andere, zuvor gesehene, verschwinden lässt. Der Vortrag geht u.a. von einigen Filmen aus dem Werk des amerikanischen Künstlers Bruce Conner aus.
Display und Dispositiv, 2019
Recherches sémiotiques, 2011
Depuis une quarantaine d'années, un certain nombres d’artistes-cinéastes, se situant du côté ... more Depuis une quarantaine d'années, un certain nombres d’artistes-cinéastes, se situant du côté de l'art vidéo, dans l’art des nouveaux médias ou encore du côté du cinéma dit avant-gardiste, ont successivement pris position face aux changements et innovations technologiques. Il s’agissait non seulement de repenser l’argentique, la fonction esthétique et les composants du cinéma, mais aussi des questions de dispositif au sens large du terme. En tant que modalités de textes écrits, les manifestes occupent une fonction charnière entre création artistique et théorie. Le présent article commente une série de textes déclaratifs tenant lieu de la fonction traditionnelle du manifeste, rédigés par des artistes ou cinéastes. Les discours sur la numérisation héritent souvent de la rhétorique des grands récits de l’avant-garde, empruntant des attitudes apocalyptiques, utopiques ou prophétiques, tout en s’inscrivant dans une tradition moderniste par la revendication de l’innovation, de l’op...
Intermédialités: Histoire et théorie des arts, des lettres et des techniques, 2008
This article analyzes the complex and plethoric video artist Mark Lewis and his Willesden Launder... more This article analyzes the complex and plethoric video artist Mark Lewis and his Willesden Launderette Reverse Dolly Pan Right Friday Prayers (2010, 5'), highlighting how he works with cinema theories and devices. The article demonstrates that the paradoxical allusions that Lewis's work makes toward the 'classical' dispositif of cinematic projection shine a light and at the same time challenge cinematic theories and theories of perception. Moreover, the use of specifically cinematographic techniques such as the dolly or the rear projection screened in the museum context, and in a loop, displays the projected image in its hybridity and, more broadly, celebrates the cinematic dispositif while refusing to view it in a nostalgic way.
Fritz Langs Liliom of 1934, which was made in France and marked a significant stage in the direct... more Fritz Langs Liliom of 1934, which was made in France and marked a significant stage in the director's career between Berlin and Hollywood, anticipates the courtroom scene from Fury, a film famous for its social realism. The spectator is in both cases elevated into the position of a privileged witness, because he is shown things, which have already happened or are being retold. These constitute not simply repetitions of a certain event in identical or digressing versions for the sake of narration, they rather represent the power of the cinematic apparatus, the power of the structuring gaze of the film. Bringing the film to a halt within the film, does not only immobilize the story, but also represents a symbolic endeavour to revoke history. The crime, which in Das Testament des Dr. Mabuse of 1933 runs its inescapable course, can in the fictional heavens of Liliom always be revised by repetition and standstill, and later - as in Fury - be dealt with by the means of democracy.
Questions de cinéma, problèmes d'anthropologie Type de publication: Revue Directeurs d'ouvrage: A... more Questions de cinéma, problèmes d'anthropologie Type de publication: Revue Directeurs d'ouvrage: André (Emmanuelle), Cheval (Olivier), Vancheri (Luc) Résumé: Écrans est une revue thématique interdisciplinaire portant sur le domaine audiovisuel et traitant des problématiques contemporaines des cultures et des arts de l'image Nombre de pages: 214
Image and Narrative : Online Magazine of the Visual Narrative, 2010
(E): This approach of Level Five by Chris Marker aims to grasp the theoretical status of "fo... more (E): This approach of Level Five by Chris Marker aims to grasp the theoretical status of "found" words and images, which are integrated by the filmmaker into a "semi-documentary" research, within a setting that is linked to the new media. Rather than considering them as pure documents, Marker is interested in their imaginary and discursive dimension. He integrates them into fragmentary writing that one could compare to modern forms of litterature and historiography. Thus, the word "Okinawa" is the starting point of the research of a name, a discourse, an iconography and a myth. In the film, the discourse on the deaths refers to rituals of remembrance and repression ; the images take the corresponding form of this labour: repetition and stoppage. For Marker the term «archeology» takes its foucauldian dimension, in the sense that it considers facts of discourse (and of images) not as documents, but rather as monuments.<br />Abstract (F): Cette appro...
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Papers by Christa Blümlinger