But after all, what's left of cinema? The film, the exhibition and the eternal return of the end
What film does have, and other mobile pictures do not (when they are not movies), is the capacity to close itself to duration. It gives its viewers a previously played game. The film is a kind of washing machine that shakes and flips the time, twisting it up and down, turning it to fruition, with em...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica de São Paulo (PUC-SP) |
| Repositorio: | Galáxia (São Paulo) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/25800 |
| Acceso en línea: | https://revistas.pucsp.br/index.php/galaxia/article/view/25800 |
| Access Level: | acceso abierto |
| Palabra clave: | film death of cinema expanded cinema digital technology film and time dispositif. filme morte do cinema cinema expandido tecnologia digital filme e tempo filme dispositivo. |
| Sumario: | What film does have, and other mobile pictures do not (when they are not movies), is the capacity to close itself to duration. It gives its viewers a previously played game. The film is a kind of washing machine that shakes and flips the time, twisting it up and down, turning it to fruition, with emotion aiding. Film, like a symphony, must pass toward an end (a ‘happy’ end, says de word) that is already there, in the very start, in every plan. An end we find in the heart of its art - unlike a painting or a photo on the wall. Therefore, when we hang a lm, or make it an installation, we can have whatever we want, but not film and no longer cinema. The film creates “dispositif ” and not the reverse. The quarrel about what is 'left' from cinema has its heart the regressing deaths and this sort of great Leviathan that is the expanded cinema. |
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