Alexandre Astruc’s canonical essay, ‘The Birth of a New Avant-Garde: La Caméra -Stylo’ (), is considered a key precursor in the study of cinematic. La caméra-stylo. Alexandre Astruc. “What interests ine in the cinema is abstraction.’ (Orson Welles). One casinot help noticing that something is happening in the. Influenced by the introduction of the revolutionary 16mm film technology; French Filmmaker and critic Alexandre Astruc predicted a.
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One cannot help noticing that something is happening in the cinema at the moment. But there was the possibility that this might occur, through this individual encounter with technics. Only a film critic could fail to notice the striking facial transformation which is taking place before our very eyes.
La Camera Stylo – Alexandre Astruc
The evolution of mankind over ayear period does not occur despite technology but because of it. I will even go so far as to say that contemporary ideas and philosophies of life are such that only the cinema can do justice to them.
He predicted that everybody would have a projector in their house, hire films camerw any topic from the bookstore and that there would be many more cinemas. Maurice Nadeau wrote in an article in the newspaper Combat: Every film, because its primary function is to move, i.
Either the emphasis is placed on the auteur or on the film-as-text or on the historical and technical history of the medium; but what rarely asturc is the attempt to think through these topics in relation to one another ; to see these elements as inter-dependent and co-constitutive, the result of an encounter between a number of elements, human and non-human, technical and industrial.
He defended his dissertation inand, since then, has published more than a dozen books — a number of them organised around a common theme, as in the three-volume Vamera and Time series, published in France between and Objectivity is thus relocated in us rather than in the world. But with the development of 16mm and television, the day is not far off cameda everyone will possess a projector, will go to the local bookstore and hire films written on any subject, of stjlo form, from literary criticism and novels to mathematics, history, and general science.
When Astruc discusses thinking and language, he does not mean that filmmakers should transport linguistic ideas or linguistic signs into cinema. This book is a wonderful anthology of writings by critics and filmmakers associated with the Nouvelle Vague, is a great read, and has many more seminal writings.
It is not just a coincidence that Renoir’s La Regle du JeuWelles’s films, cammera Bresson’s Les Dames du Bois de Boulogneall films which establish the foundations of a new future for the cinema, have escaped the attention of critics, who in any case were not capable of spotting them.
This is how Stiegler initially trained for a life in philosophy. This is directly related to the fact that most filmgoers and television viewers have no access to equipment, and no ability to participate in these media except as spectators.
Stiegler is not wrong to suggest that film and other related media technologies have troubling components; after all, cinema does evolve into big business that attempts to maximise profits through a set of principles or rules that function to delimit the uses to which the technology might be put.
Ideas are created not simply through the juxtaposition of shots but in the relations established, within a single shot, between the various figures distributed across the frame, human or otherwise. To this notion, Stiegler adds a discussion of the new time-based media of the 19th and 20th centuries the phonograph, cinemawhich not only duplicate the flux of consciousness but also — because of their mechanical reproducibility — have the ability to repeat it.
Well, the only cause of these compressions is laziness and lack of imagination. From that moment on, it will no longer be possible to speak of the cinema. This is due to the basic fact that all films are projected in an auditorium.
We see in them, if you like, something of the prophetic. Cinematic Time and the Question of Malaise.
This is what leads him to his strongest auteurist claim, a few pages later: In these terms, to say that language is an abstraction should not be understood exclusively in negative terms, for abstraction is not simply a subtraction, extraction or reduction of experience. To the extent that this notion of the camera-pen is a metaphor, Astruc can be seen to be making a very similar — in fact, interchangeable — argument with Bazin in his piece on Welles astru Citizen Kane.
Astruc begins with a quote aztruc Orson Welles: What he makes clear is the extent to which astru the work of Gilles Deleuze largely ignores this dimension of the medium: Although his specific examples are all feature-length narrative films, shot on 35mm, he also mentions the proliferation, in the post-WWII period, of 16mm cameras, and how this increased availability of film cameras can facilitate the continued growth of the new mode of cinematic writing.
This is not to say that the majority of works produced in the past ten years have attempted to utilise technics in such a fashion; quite the contrary, for the most part, the majority of users simply wish to replicate the cinematic and televisual forms that they are familiar with, stlyo which they recognise however falsely as their own.
University of California Press,p. This idea of the cinema expressing ideas is not perhaps a new one. The majority of users will do nothing special with these technologies, their lives will carry on more or less the same; but what is important is the transformative value these technics may have for one person, for one individual, who transforms the device, allows it to evolve, while also transforming themselves — as well as those who come into contact with their work in the near or distant future.
Let me say once again that I realise the term avant-garde savours of the surrealist and so-called abstract films of the s.