Film és fenomenológia: Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Hungarian |
| Veröffentlicht: |
Kolozsvár ; Nagyvárad ; Szeged
Pro Philosophia Alapítvány
2016
|
| Schriftenreihe: | Kellék
56 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Einzelaufnahme eines Zeitschriftenheftes |
| Beschreibung: | 176 Seiten |
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Datensatz im Suchindex
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| adam_text | Tartalom
Film és fenomenológia
Tarnay László: A fiimi élmény és a Másik.
Az intimitás filmfenomenológiai alapjai 7
Gyenge Zsolt: A filmkép percepciója.
Támpontok fenomenológiai filmelemzéshez 47
Az új román film esztétikája
Christian Ferencz-Flatz: A tudat által nem áthatott világ.
Benjámin és Porumboiu 75
Lucián Maier: A mai román dokumentumfilm irányai 99
Claudiu Turcus: Az új román film recepciója
és Cristi Puiu Aurora című filmje 119
Búzás Annamária: Családi kapcsolatok az új román filmben 135
Demény Péter: A semmiből a semmibe.
Radu Jude Aferim! című filmjéről 169
Számunk szerzői 173
Abstracts
174
kellék %
ABSTRACTS
László Tarnay:
Film Experience and the Other: the Film Phenomenological
Basis of Intimacy
The paper is an inquiry into the possibilities of representing intimacy in
moving images. First it rejects certain direct forms of reprentating inti-
macy like visible or overt narrative content (story) or the participatory
mode associated with documentary films, or the associative effect of by
setting up two conditions i. they do not address us in our singular person-
ality and ii. they do not necessarily have the sensorial quality to turn us
inward toward our own bodily perception. After clearing the way toward
an thetical conception of the singularity of objects it discusses the con-
cept of the anarchy of the sensible in Levinas s approach to art as a force
that undermines classical, i.e. figural representation. Raw sensory data is
revealed as the source of a kind of surplus meaning in the perception of
art objects that can be correlated with the ethical meaning of the Face.
The intensification of the sensible sends the perception of the identity
of the object off the track while replacing it with haptic vision, touching
the skin of the film, as Laura Marks puts it. Haptic vision, or generally,
synasethetic experience paves the way for the ethical stance. It opens up
when object perception is emptied out and infinitely delayed in a chain of
unfilfilled perceptual acts at the same time. It is the correlate of the lack of
things to see. The paper concludes with a short discussion of the theory
of Embodied Simulation (ES) which holds that our brain-body system
while experiencing embodied perception at a prereflexive level simulates
the acts it perceives internally. That is, we live our sensory perceptions
,motorically - in our premotor system - without performing them. The
more vivid, synesthetic the perception is the stronger the simulation be-
comes. ES may add to the perspicuity of the ethical dimension of haptic
vision in that a lack of things to see that infinitely dynamizes perception
leads to the internalization of the Other yet not (only) in its general prop-
erties (the quoi) but in its ipseity {the qui).
174
Keywords: radical Other, intimacy, haptic vison, flesh, texture, qui/quoU
perception/expression, meaning intention, the anarchy of the sensible,
Face, lack of things to see, synaesthesia
Zsolt Gyenge:
The Perception of the Filmic Image. Observations on a
Phenomenological Analysis of Films
The paper presents a theory of film analysis based on a phenomenolog-
ical description and understanding of cinema s perceptually embodied
experience. It explores Maurice Merleau-Pontys theory of perception,
arguing that many aspects of his phenomenology of everyday perception
may apply to the perception of cinema; an approach that would lead to an
understanding of film as the perception of an expression of perception.
An important argument of the article suggests that what Merleau-Ponty
describes as chiasm in perception is probably the most important feature
that defines the cinematic experience. The paper also offers a critical view
on Vivian Sobchack s famous term the film s body, analyzing the “source”
of the filmic image, and bringing into focus a split spectatorial experi-
ence. A thorough overview from a perceptual point of view is performed
of such basic cinematic phenomena as perspective, depth of space and
frame. Throughout the paper several examples are brought into discus-
sion from different directors, such as Abbas Kiarostami, Jean Eustache,
David Lynch and Hong Sang-Soo.
Keywords: phenomenology of film, chiasm, Merleau-Ponty, perception,
depth of space
Annamária Búzás:
Family Relations in the Romanian New Wave
The Romanian New Wave become a concept by now, but before 2000 this
term hasn t existed. The designation names a new school, a new tendency,
after 2000 the directors made such films, that they couldn t have made
before. In the last sixteen years two generations entered in the New Wave,
the directors of the first wave are Puiu, Mungiu, Nemescu, Porumboiu,
175
kellék 56
kellék 56
Mitulescu, Muntean, their films bring into focus the history and the rec-
ollection of historical events, in the second wave we can count Sitaru,
Serban, Jude, Cri§an, Netzer, their films emphasize the present-day prob-
lems of the society. Films which were made at the turn of the millenium
broke with the traditional works of the Ceausescu era, they don’t mythi-
cizate the history of Romania, they are processing actual social problems.
Strausz László names a group of film from the second wave “chamber
pieces”, in these films the family conflicts come to the front, but the we
can also feel indirectly the impact of the historical past. In my thesis I
analyze the idea of the family in chamber pieces, I selected six films, my
hypothesis is that the present-film from the Romanian New Wave are
mapping the changed social situation after the revolution (’89) and the
transformed cues of the family. In the theroetical part of my essay, I try to
draw a relative uniform picture about the socialist- and the postsocilasit
family, I will build in these pictures in the analysis. I assay the films along
four aspect: I examine the relations between the old and middle gener-
ation, the relations between woman and man in the old generation, the
relations between woman and man in the generation of adults and the
relations between child and parent in the middle generation. I will use the
method of character analyzing to trace these relationships.
Keywords: romanian new wave, society, conflict, socialist and
postsocialist family, old and middle generation, patriarchal and modern
family, communism, “chamber piece”
Péter Demény:
From Nothing to Nothing
In my essay I try to analyze Radu Jude s movie, Aferim! Aferim! a trag-
ic comedy that is authentic for both the 19th and the 21th century. The
movie presents a trip in wich two cops, father and son, are trying to find a
fugitive gipsy slave. They find him and take him to his owner, the “boier”,
the squier. The punishment is extreme. Along this story we can see a very
sad and very balcanic country in wich nothing is saint, but money and in
wich the squier can do everything with his serf and even with the cops.
The actors are, as usually, excellent, and the cameraman as well. Aferim! is
noir in another way that Mungiu s or Puiu s movies.
Keywords: Aferim, Radu Jude, Romania, noir, trip, tragic, comedy.
176
Sayerische
Staaisbibfiothek
^ München
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| spelling | Film és fenomenológia Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty főszerkesztő: Györgyjakab Izabella Kolozsvár ; Nagyvárad ; Szeged Pro Philosophia Alapítvány 2016 176 Seiten txt rdacontent n rdamedia nc rdacarrier Kellék 56 Einzelaufnahme eines Zeitschriftenheftes Zusammenfassungen in englischer Sprache Geschichte gnd rswk-swf Philosophie (DE-588)4045791-6 gnd rswk-swf Ästhetik (DE-588)4000626-8 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Rumänien (DE-588)4050939-4 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Rumänien (DE-588)4050939-4 g Film (DE-588)4017102-4 s Ästhetik (DE-588)4000626-8 s Philosophie (DE-588)4045791-6 s Geschichte z DE-604 Györgyjakab, Izabella 1975- (DE-588)1027565301 edt Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029847559&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029847559&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Film és fenomenológia Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty Philosophie (DE-588)4045791-6 gnd Ästhetik (DE-588)4000626-8 gnd Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4045791-6 (DE-588)4000626-8 (DE-588)4017102-4 (DE-588)4050939-4 (DE-588)4143413-4 |
| title | Film és fenomenológia Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty |
| title_auth | Film és fenomenológia Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty |
| title_exact_search | Film és fenomenológia Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty |
| title_full | Film és fenomenológia Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty főszerkesztő: Györgyjakab Izabella |
| title_fullStr | Film és fenomenológia Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty főszerkesztő: Györgyjakab Izabella |
| title_full_unstemmed | Film és fenomenológia Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty főszerkesztő: Györgyjakab Izabella |
| title_short | Film és fenomenológia |
| title_sort | film es fenomenologia az uj roman film esztetikaja vegul is az erzekeles segitsegevel erthetjuk meg a film jelenteset a film nem gondolkodik erzekelodik maurice merleau ponty |
| title_sub | Az új román film esztétikája : "Végül is az érzékelés segítségével érthetjük meg a film jelentését; a film nem gondolkodik, érzékelődik." Maurice Merleau-Ponty |
| topic | Philosophie (DE-588)4045791-6 gnd Ästhetik (DE-588)4000626-8 gnd Film (DE-588)4017102-4 gnd |
| topic_facet | Philosophie Ästhetik Film Rumänien Aufsatzsammlung |
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