By Jacques Ranciere, John Howe
Cinema, like language, may be acknowledged to exist as a approach of modifications. In his newest ebook, acclaimed thinker Jacques Rancière appears to be like at cinematic paintings compared to its corollary kinds in literature and theatre. From literature, he argues, cinema takes its narrative conventions, whereas even as effacing literature’s photos and philosophy; and movie rejects theatre, whereas additionally gratifying theatre’s dream.
equipped on those contradictions, the cinema is the true, fabric house within which one is moved by way of the spectacle of shadows. hence, for Rancière, movie is the ceaselessly disillusioned dream of a language of pictures.
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Additional info for The Intervals of Cinema
There was no living thing in the darkness but 3 See Robert Bresson, Notes sur le cinématographe, Paris: Folio! Gallimard, 1995, p. 135. '4 This image of Mouchette curled into a baIl can remind us of the Schlegelian the ory of the fragment rolled in a balllike a little hedgehog or the Deleuzian concept of time-image: a present that forms a loop with its own infinity; a cut and a reconnection out of the void, a link in the form of a non-link. Literature produces a certain type of time-image, marked by two characteristics: the internaI tropism of the sequence and the cut between sequences.
None exist any longer, only movements; and it is itself a privileged 32 AFTER LITERATURE movement, the one that connects and synchronizes aIl movements. The machine-eye achieves naturally what literature had to achieve through artifice: the disappearance of any obvious sign of mi in its product. Cinema, by the same token, has no need to link its fate to the asseliion of a truth about the falsehood oflife. The tnIth of the movement machine is the equality of all movements. But that equality is not the nihilist equivalence of the manifestations of a blind life.
And inversely that screenplay serves as an allegory for the mise en scène. This is one of the constants of Bresson's cinema. Each of his films tells more or less the same story: that of a hunter/director policeman or hoodlum, jealous husband or abandoned mistress, gamekeeper or poacher - laying out semblances to lure a prey into their net. Bresson defines his mise en scène elsewhere as an arrangement for capturing truth. What is the exact relationship between these two hunts or these two mise en scènes?