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, 09:16:02am CEST
Media vs. Archive in Deleuzean Concept of ‘Montage’ & the ‘Whole’
Independent Scholar, Korea, Republic of (South Korea)
For Deleuze in Cinema the montage functions as techniques to form fragmented images to complete the whole movement-image. His notions of three-key systems to form of montage are: the alternation of different parts, montage of ‘relative dimensions’ and montage of ‘convergent actions’(C1:31). These notions not only validating in analogue films and images but also in modern media related images in terms of digital. In this research, the arguments suggest that Deleuze’s montage is essential components in indirect, non-organic forms of images in both time and movement based on Bergsonian sense; that how Deleuze theory of ‘Montage’ and the ‘Whole’ challenges André Bazin or Hugo Münsterberg’s concept of film image and photoplay as in modern media today. This analysis will be mainly discussing on Harun Farocki’s Media-archaeological digital documents in his later works.
2:30pm - 3:00pm
Bacurau: Chronotopes of Revolutionary Events/Becoming Class of the Precarious Multitude
Oxford Brookes University, United Kingdom
This paper addresses the political and conceptual power of the successful and highly praised Bacurau (Dornelles and Mendonça Filho 2019) by inserting it within general trends of contemporary visual culture surrounding the issue of cinematic precarity. The discussion will find its analytical coordinates around the notions of chronotope and dialogism. These tools are notoriously attributed to Mikhail Bakhtin and are intended to investigate regular patterns in aesthetic experiences and to evaluate the differential and subversive potential to be attributed to every case study. This approach, in line with the work put forth in the field of film-philosophy, rejects the understanding of audiovisual media as textual artefacts, and indicates them as experiential and operational maps featuring specific emotional and conceptual patterns. Grounding assumption of the current analysis, indeed, is to understand cinematic experience as an affective and ecological encounter, a practical conceptual experience in which viewers find the opportunity to explore and experiments complex ethical systems. A productive interrelation, therefore, that allows us also to connect the discussion with reflections upon general extractivist and enclosing dynamics of neoliberal governance and with trajectories of resistance and revolt against it.