venerdì 15 febbraio 2013

Pure Cinema and Reality: Landscapes, Spectators and Life

Il volume Cosa rimane delle avanguardie, a cura della Prof.ssa Bovi (direttrice del Journal "Espressivamente") è quasi pronto. All'interno del volume, curerò un capitolo dedicato a Cinema puro e non-cinema nell'avanguardia cinematografica contemporanea.

In attesa che il saggio possa essere pronto per la stampa, segnalo un estratto presentato al V° NECS Graduate Workshop nel dicembre 2012. Il titolo del paper è: "Pure Cinema and Reality. Landscapes, Spectators and Life":

This paper explores the connection between reality and its cinematic representation in pure cinema. In particular, my paper focuses on the relationship between pure cinema and spectatorship by focusing on landscape, considered as the cinematic space in which both the filmmaker and the spectator find their own truth. Films are made up of images of pure unmediated reality (Benjamin, 2008) and in them spectators find a conjunction between the cinematic experience and real life. It is the landscape, as depicted by Neorealism and by contemporary avant-garde filmmakers (e.g. Benning and Jacobs), that binds fiction and truth, representational space and spectatorial space.

Pure cinema has a precursor in De Sica’s Bicycle Thieves (Bazin, 2005), in which the absence of a set provides the perfect aesthetic illusion of reality (Allen, 1995) and helps in building the “factory of facts” (Vertov, 1984: 59). Although, on the one hand, cinematic artistic expression “infiltrates persons’ lives, melding fantasy with reality” (Banks Gregerson, 2010: 17), on the other, pure cinema melds different sides of reality. Through the process of perception and identification (Blumenberg, 1997; Bettetini, 2002), spectators project themselves on the screen. Film is the continuation of life (Ortoleva, 1988), it influences how spectators interpret the world: outside of the movie theatre, we actually live out a fictional story which is never really finished.
Pure cinema does not simply use geography in order to locate spectators in a specific landscape (Landy, 2000: 46); it also locates spectators in reality by using the camera, catching physically perceptible and invisible movements (Darghis, 2009). Reality is an abstract space that becomes inhabitable by spectators, while objects and landscapes take on a thickness and substantiality (Sobchack, 1992). Continuity between places, time and action is established. Spectators see landscapes in motion, transporting them from film to real life. Life, as reality, is the best three-dimensional experience (Jacobs, 2009) humanity will ever know.

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