Film in čutna zaznava: Sodobni francoski film in filmska telesnost

Martine Beugnet

Prevedla Maja Lovrenov

Povzetek:

Eden najbolj fascinantnih pojavov v sodobnem umetniškem filmu je vrnitev telesnega filma, to je filmskih praks (in posledično teoretičnih pristopov), ki dajejo prednost filmu kot mediju čutov. Ta članek tako raziskuje trende snemanja filmov in filmske teorije, v katerih je izkustvo filma zasnovano kot edinstvena kombinacija čutne zaznave in mišljenja, afekta in refleksije. Trdi, da sodobna francoska kinematografija v ponovni povezavi z določeno tradicijo francoske filmske teorije nudi ilustrativni primer: velika množica nedavno izdanih francoskih filmov predstavlja to pripravljenost raziskovati edinstveno zmožnost filma, da nas gane tako nagonsko kot intelektualno. Zato članek predlaga, da taki filmi, zamišljeni kot oblike utelešenega mišljenja, nudijo alternativne načine zamišljanja odnosa subjektov do umetnosti in posledično subjektov do objektivnega sveta onkraj gole prilastitve in potrošnje.

Abstract:

Cinema and Sensation: Contemporary French Film and Cinematic Corporeality

One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices (and, by extension, of theoretical approaches) that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema offers a point in case: a large collection of recently released French films typify this willingness to explore cinema’s unique capacity to move us both viscerally and intellectually. In turn, the article suggests that such films, envisaged as forms of embodied thought, offer alternative ways, beyond that of mere appropriation and consumption, of envisaging the relationship of subjects to art, and, by extension, of subjects to objective world.