Cinema by Alain Badiou

By Alain Badiou

For Alain Badiou, motion pictures imagine, and it's the activity of the thinker to transcribe that pondering. what's the topic to which the movie provides expressive shape? this can be the query that lies on the middle of Badiou’s account of cinema.

He contends that cinema is an artwork shape that bears witness to the opposite and renders human presence obvious, hence attesting to the common worth of human lifestyles and human freedom. in the course of the event of viewing, the move of inspiration that constitutes the movie is handed directly to the viewer, who thereby encounters a facet of the realm and its exaltation and energy in addition to its trouble and complexity. Cinema is an impure paintings cannibalizing its occasions, the opposite arts, and other people – an important paintings accurately since it is the locus of the indiscernibility among artwork and non-art. it really is this, argues Badiou, that makes cinema the social and political paintings par excellence, the easiest indicator of our civilization, within the means that Greek tragedy, the coming-of-age novel and the operetta have been of their respective eras.

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The Party’s anthropologist shows us what life on the reservation is like: sinister celebrations, as far as our taste as revolutionaries of the people is concerned, about as truthful and charged with as much meaning and progress as the description of an Amazonian ritual by a Spanish mercenary flanked by a Jesuit priest. As for the enemies, regardless of whether they are the main attraction or only absurd absences, the only thing we’ll learn about them is that, through their own doing, not the proletariat’s, they have lapsed into madness and vice and, as opposed to the hearty celebrations of popular unity, they have only sadistic, baleful black rites.

A reflection, yes, but of what? A double reflection: of the contradictions of an era and of a perspective on those contradictions. And so, all powerful – “classical” – art, even if it subjects the fabric of History’s contradictions to intentions of order, allows us to glimpse it, torn and folded, thereby testifying for the real, hence for the people. 41 art and its criticism The present times Of course, the bourgeois art/proletarian art pair is not without its virtues. ” But, in itself, it is only a kind of static algebra that says nothing if it is not plunged back into the current context of contradictions, of which there are always two facets, namely that: 1.

Or even the best of them, Kind Hearts and Coronets. ” In Journey to Italy, the scene on the ruins of Pompeii where Ingrid Bergman and George Sanders witness the discovery of two corpses locked in an embrace is the very story of the drama the couple is living out, of their fear. This ability to abolish the simple linear presence of the story goes hand in hand with the discovery of all the fake tricks that account for the success of a “literary” or “big issue” cinema. The quality (a bit suspect, incidentally) of Jacques Prévert’s dialogues can’t redeem Marcel Carné’s Quai des Brumes (Port of Shadows).

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