Overview and details of the sessions of this conference. Please select a date or location to show only sessions at that day or location. Please select a single session for detailed view (with abstracts and downloads if available).
Please note that all times are shown in the time zone of the conference. The current conference time is: 2nd Oct 2022, 07:51:33am CEST
Deleuzian «classification of images and signs» is based on the concepts of movement and time and on the idea of the evolution of cinema. Is it possible to represent an image in cinema beyond time image? One of the possibilities for the development of Deleuzian «classification» is an assumption of experience-image. This possibility is based on the suspicion that experience includes both some features of time and some features that do not fit into the idea of time. Four features can characterize time: duration, territoriality, lines of flight, and registration. Exactly the same points characterize the experience but in a more extended sense. Moreover, the experience is associated with the concept of active and reactive forces. Perhaps, it makes a basis for an experience-image that overcomes the idea of time image. One of the variations of the experience-image is the mood-image. The concept of mood supposes some features of experience: the mood is a duration associated with spatial characteristics. The mood implies a non-linear relationship with the territory. The mood is a set of lines of flight, a set of variations of moods. The mood is a kind of meeting with the mood itself. Finally, the mood can be represented as a struggle between the active and the reactive forces. The examples of mood-image we can find in the Qatsi trilogy, films of K. Muratova, so-called slow cinema and so on. Experience-image is one of the possible options for the development of Deleuzian project and for the movement towards «Cinema-3».
4:30pm - 5:00pm
Film Fabulation; László Nemes’s Son of Saul
Maureen Theresa Winter
In Son of Saul, László Nemes’s 2015 drama depicting two days in the life of Sonderkommando Saul Ausländer,the eponymous protagonist is captured through a narrow-focus lens at close range in nearly every image. The entire film is a portrait, one that abandons any project of character development and instead focuses on a series of choices that Saul makes after devoting himself to the task of properly burying a body that he believes to be his son. A handheld camera follows Saul’s every move through the cramped space of the camp and, rather than producing an effect of realism (or even, as Georges Didi-Huberman argues, a dialectical realism that questions its own ground), creates de-centered images in which bodies can be perceived as what they are—relations of forces that confront and affect one another. What the camera “sees” is no longer objective nor subjective, and the character has ceased to be real or fictional. He assumes fiction as a power and not as a model and in his continual invention, he “contributes to the invention of his people”.
This paper inserts itself into a broader effort to shift the debate about "Holocaust cinema" away from questions of representability (Lanzmann, Rancière, Didi-Huberman, to name a few) and towards a politics of the minor. Considering Nemes’s film as a falsifying narrative and its main character as a faussaire abandons all inquiries into its historical accuracy, its adherence to the truth of a historical event, or even its relation to the non-representability of that event. The point is to open the possibility of thought about this cinema that considers history as an ontological force of becoming rather than an empty set of conditions to be fulfilled. What, we might then ask, is the relationship between the faussaire and the minor? Or between the cramped space of politics and the non-localizable space of the time-image? Between deterritorialization and aberrant movement?
5:00pm - 5:30pm
Animist Post-Cinema as a Technics of Sensing Forces | Ursula Biemann’s Acoustic Ocean (2018) and Matthew Barney’s Redoubt (2019)
Trinity College Dublin, Ireland
Thinking with Deleuze, Guattari and Simondon, the presentation examines a recent video installation by Ursula Biemann (Acoustic Ocean, 2018) in conjunction with a wordless feature film by Matthew Barney (Redoubt, 2019) as specimens of what might be called ‘animist post-cinema’. As I shall argue, these experimental films exploring the ecologies of the ocean, the mountain and the forest (the Lofoten Islands and Idaho’s Sawtooth Mountains, respectively), provide powerful voices in the context of the current environmental degradation, drawing attention to entanglements of biological, physical and technological life. In particular, I would like to interrogate how the artists’ eco-cinematic interventions reinvent the theme of animal hunt as a process of sensing, transmission and conversion of animal souls or forces, made possible through a technical ensemble of human and metallic components – electroplated copper sheets (Barney) or parabolic microphones fed into recording devices (Biemann). Such cine-aesthetics of forces is not so much depicted or represented but dynamically enacted as a modulation, or a film, across different media: spatial installation and soundscapes in Biemann or the sculptural installations and copperplate engravings that accompany Barney’s feature. I would like to conclude by proposing these cinematic interventions, which affirm a more-than-human, or ahuman, modality of time, as examples of the cinema of the future. This animist post-cinema might be labelled a ‘third cinema’, in the sense of modulating both the movement-image and the time-image.