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Margot Dijkgraaf (Amszterdam): Holland irodalmi kitekintés 76 Andreas Harbsmeier (Koppenhága): Dán irodalmi kitekintés 79 Almantas Samalavičius (Vilnius): Litván irodalmi kitekintés 81
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Before cinema, theoreticians have established a relationship between the notes of the scale and colors, based on the idea of vibration. Kandinsky questioned the relationship between arts and used the principle of synesthesia. But films that were inspired by painting have also raised the question of synesthesia. The director S.M. Eisenstein, who was also a painter, tried to make color sensations by musical vibrations in his films. Christian Metz, who analyzed the impression of reality in film, emphasized the “stereocinetical” effect in the 7th Art. He said that the movement produced the impression of reality. For the viewer, what is tangible is real. The Italian semiotician Gianfranco Bettettini showed that that audience filled the lack of sensoriality by making some symbolic prostheses. Thus the cinema, in relationship with painting, tries to perceive the sense of touch. The philosopher Gilles Deleuze has questioned the proximity in painting using the example of Francis Bacon. He showed how the eye could have two functions, one optical, corresponding to distance vision, the other haptic, or tactile vision. Jacques Aumont and Pascal Bonitzer adapted some of Deleuze’s ideas to cinema, in what we can find the same difference between optical and haptical vision. For some filmakers (Kurosawa, Dreams, Paradjanov, Sayat Nova, Tsvet Granata, or Achik Kerib), there is a synesthetic dimension given by the haptic vision. By demonstration of synesthesia, cinema joins poetry, the figural becomes close to the poetic.
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Without trying to identify a sub-genre in the Romanian contemporary cinema and without searching for the so called “cooking films”, this paper is analyzing the usage of food and eating in the “new wave” films of the Romanian cinema. Treating food and food consumption as a social practice and using the concept of food semiotics, the author presents some of the most important usages of eating in the contemporary Romanian cinema.
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The word “synesthesia” was largely employed to designate the re-foundation of the relationship between music and painting, especially by the current of symbolism, in order to overcome “the lack of a common principle, available in the earlier paradigm through the notion of imitation”. In a broader perspective, it invites to re-think the function of art: is it intended only for sight or an experience of sensitive immersion attracting all senses? The title of the current study, taking up the title of Éluard’s book, Donner à voir, highlights this double meaning. I intend to consider it by a comparison between two texts of poets who praise the work of the painter Wifredo Lam: this comparison challenges the relationships of the subject and his surrounding world. I intend to demonstrate that the approach to painting by the French poet René Char, even when he pays tribute to the very painters celebrated by the surrealist André Breton, sets a different relationship with art. Against the visual fascination of Breton, against his denial of music, against his despise of the tangible aspect of painting, Char considers painting as a concrete art that encompasses other senses than the eye. Such an idea of the visual arts is to me one of the very characteristic of Char’s aesthetics and one of the important stakes of the dialog it follows with surrealist aesthetics. My study relies on contemporary art theories, notably those of Duthuit and of Tzara, which set in a wider context the optical primacy of the relationship to the visuals arts in France in the 20th century and which put it into the perspective of the art of non-occidental civilizations. I also call for the contribution of philosophers and historians such as Gumbrecht and Jolles.
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I establish my study on basically two theorists of Fassbinder’s aesthetics, the analysis of the kitsch in Fassbinder’s films by Françoise Dahringer and the articles on painting and music in his films by Vivien Villani. Then I take the idea of Abraham Moles, that Kitsch is “the art of happiness” and I use it to analyse a six minutes sequence in The bitter tears of Petra von Kant. Thereby, I show that Fassbinder’s film aesthetic is synesthetic. It is a superposition of kitsch objects, objects that provide happiness, which combine in a very unique way opera, painting, cinema and theatre. But in the case of Fassbinder, the kitsch does not provide happiness. My theory on kitsch as art of despair comes from Fassbinder’s theatre influences (Bertolt Brecht and Antonin Artaud). This film shows both the techniques of the theory of alienation and the “theatre of cruelty”. The first one adds a dimension of irony and the second adds the theatrical violence, which is exaggerated and spectacular. Both of these techniques create an alienation of the spectator. Whereby, the Kitsch becomes the art of despair.
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This article about cruel haptic vision in the cinema will discuss film language, its text, even its texture, where tactility is difficult to transmit in a filmic text. Trouble Every Day (2001), as medium for these transmissions, addresses itself to the spectator’s senses, but contrary to what we can expect from an audiovisual medium, not to vision and hearing. In Trouble Every Day Claire Denis elaborates cinematic pictures which can make us feel, taste and touch the film. Initially, it was the philosopher Gilles Deleuze who formulated the concept of haptic vision with reference to the artist Francis Bacon and his painting of bodies. If Bacon’s paintings are haptic, they are more precisely cruelly haptic. But, as analysed later by Laura U. Marks, haptic vision is not a cruel process by nature. We speak about haptic vision when our vision reveals unsuspected connections with our other senses. With Denis, haptic vision is imbued with cruelty: we feel it in ourselves when forms become vague and objects and environment begin to merge.
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Questioned about the theater play God’s Mist, Jean-Claude Ameisen, researcher in cellular biology, describes Claude Régy as “a synesthetic director”. The object of this paper will be to show that in God’s Mist, the last creation of the director Claude Régy, in collaboration with the scenographer Salladhyn Khatir and the creator of the lights Remi Godfroy, the spectator is synesthète as far as he is invited to resume with the faculty not to distinguish his various perceptions. He is also invited to take a posture in which he does not analyze any more where do his various perceptions come from. Consequently, it may happen that the spectator cannot differentiate the Touch or the Visual from the Sound. At first, we will show how Claude Régy stages the collusion of opposites by giving to hear a character who seems to speak without cancelling the silence. Secondly, we will analyze the synesthesia between the silence and the light. Indeed, the lights created by Remi Godfroy seem to skip into the silences of the actor, as if they answered him. In a conclusive part, we will study how the synesthesia creates hallucinations and, thus, how it reveals the body of the actor as a skiagraphia, in other words as a written shadow.
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Abstract: How can a director summon up the five senses of the audience through the film medium? How can a visual (and sound) art make affects tangible? An analysis of Sombre by Philip Grandrieux in the light of Deleuzian theories may help us to propound some answers to these questions. Thus, the underexposed film photography, the blurring effects and the strongly marked grain of the image are to be linked with the gaseous perception expounded by Deleuze. This perception, characteristic of experimental films, creates a suffocating feeling in the viewer, caused by the saturation of the senses. On the other hand, in Sombre, the representation of flesh and fragmented bodies is reminiscent of the works of Bacon and the notion of haptic: can an artwork be touched with the eyes? Is the appropriation of an image by the fact of “getting as close as possible to it” a way to fulfill the scopic drive? The exacerbation of the senses in Grandrieux also involves the desire to return to natural instinct, or even bestiality, which is transmitted from the diegesis (the main character) to the viewer. By means of a mise-en-scène and a film editing which play on the suggestive power of cinema, the filmmaker manages to transport the viewer, through a nomadic path, to a maelstrom of quasi-animal sensations.
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Whether we talk about genuine “synesthesia” in the context of scientific research or just exploring general realms of perception, it still remains a fascinating phenomenon. This article focuses on works that unify the senses, drawing a somewhat historical sketch, a commentary upon the thin line between highbrow art and popular forms of art. The compelling “synesthetic experience” can also be found in the uneven mixture of image and words, thus suggesting different points of departure for further projects.
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Alain Cavalier is one of the most important French moviemakers. He began his career with committed movies (Le Combat dans l’île, L’Insoumis) in accordance with the rules of the “image-mouvement” as Deleuze analyzed them. He then changed his way in the ’70s and his cinema became one of sensitivity. The present article aims at following this evolution. First, we will study how the characters, at best, consider the world to be an objective reality impervious to sensitivity and, at worst, make it an organic matter. Secondly, we will see how Cavalier alters the relation to the real. To do so, he uses a double withdrawal. He first has his characters get out of their environment so that they act like “flying fish” (Bernard Stiegler), which is the only way to let things happen as phenomena. Then he presses the characters out of themselves – Emmanuel Coccia speaks of an “ex-tase” – and has them reach a sensitive life. With this double movement, in which the film director partakes, the senses are given more and more consideration. Although sight remains the main sense through which reality is apprehended, it is nonetheless challenged by “hearingcontact” and by touch. Whispers convey a connection with the audience of an almost physical nature while the hand, getting into the screen, experiences the consistency of things.
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This essay analyzes the innovative way in which Norman Manea redimensions the categories of Proustianism (involuntary memory, stream of consciousness) and begins with the investigation of a few representative short stories from the well-known volume October, Eight O’Clock. The close-reading follows the subjective narrative but undetermined voice, along an epic journey in which the protagonist regains his memory through a synesthetic and also traumatic adaptation to reality.
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For Schopenhauer, the opposite of the sublime is the “charming and attractive” (das Reizende – in the translation of R. B. Haldane and J. Kemp). Objects of art – especially paintings and sculptures – should never excite the appetite for the things they are representing. Especially the representations of erotic scenes are supposed to “arouse” the Will. But there is also another possibility to affect the Will through the “negative species of the charming or exciting” (das Negativ-Reizende), method which is even more reprehensible; “this is the disgusting or the loathsome” (das Ekelhafte). Since all the senses are involved, this emotion could be considered as the perfect realization of synesthesia. It constitutes de facto the negation of all aisthesis (perception in the sense of aesthetic contemplation), but merely since the experience of most overwhelming emotion, anti-asithesis precedes – as a consequence of the fall from Paradise – all kind of aesthetics meaning distinction by taste. The relationship between the Apollonian and Dionysian established by Nietzsche is almost the first theoretical approach taking into consideration the phenomenon of anti-aisthesis. Ancored in the tradition of nietzschean aesthetics, philosophers like Levinas, Sartre, Bourdieu or Deleuze continue to develop the existential analysis of works of art and literature.
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This paper shows the synesthetic possibilities of cinema, focusing on the manner in which olfactory sensations are rendered by moving visual images. Some techniques are identified and described: the verbal discourse (common to literature and cinema), the showing of scented substances, the act of breathing and the close ups of the nose, the accelerations and slow motions, the association between image and music, etc. The main example discussed in the paper is Tom Tykwer’s movie: Perfume: the Story of a Murderer (2006).
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