By Nenad Jovanovic
In Brechtian Cinemas, Nenad Jovanovic makes use of examples from opt for significant filmmakers to delineate the range of the way during which Bertolt Brecht's thought of epic/dialectic theatre has been followed and deployed in foreign cinema. Jovanovic severely engages Brecht's rules and their such a lot influential interpretations in movie stories, from gear concept within the Nineteen Seventies to the almost immediately dominant cognitivist strategy. 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 critical resource of creative estrangement (Verfremdung) in past Brechtian films--has lowered as a result of technique's conventionalization by means of brand new Hollywood and comparable industries. working as fundamental brokers of Verfremdung in modern movies encouraged by way of Brecht's view of the area and the humanities, Jovanovic claims, are conventions borrowed from the most medium of his expression, theatre. Drawing upon an enormous variety of resources and disciplines that come with cultural, movie, literature, and theatre stories, Brechtian Cinemas demonstrates a persevered and large relevance of Brecht for the perform and realizing of cinema.
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Extra info for Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier
Also, does not the fact that “emotion is [normally] integrated with perception, attention, and cognition” (133) add relevance to the contrasting comparison (rather than detract from it), much as the color green, for example, can be productively compared with yellow precisely because of their possession of a common element? indd 31 1/6/17 10:28 AM 32 Brechtian Cinema Brecht’s understanding of illusion for that of Murray Smith. The reasons against that move have been explained. Despite the authority of Murray Smith’s deprecating assessment of Brecht’s legacy in cinema, the concepts of epic/dialectic theater continue to inspire film practitioners.
13 Verfremdung has been developed in contrast to the principle of empathy (Einfühlung), a central term of Aristotle’s Poetics (335 bc), which summarizes the formal procedures of the theater in the writer’s epoch. 1: 553; translation mine). Late capitalism’s reversal of the described relationship calls for an alternative model, based on Verfremdung in its epistemological and practical aspects. To estrange means also to historicize, to represent the events and persons as historical and transient” (554–55; translation mine).
This recognition leads to the formation of its unconscious and—because the unconscious is for Lacan structured like language—to the infant’s entry into the realm of the symbolic. Cinema’s ideological effect that Baudry refers to, following Althusser, involves configuring the domain of the spectator’s natural existence as secondary in importance to that of the transcendental, of “the beyond,” which ultimately hinders her possibility of acting in the world politically. While not referring to Brecht, Baudry evokes him by placing his focus—and critique—on the process of spectatorial identification (with both the characters represented and the cinematographic apparatus itself) that the medium supposedly encourages.