Jean-Louis Comolli (born 30 July ) is a French writer, editor, and film director. He was editor in chief of Cahiers du cinéma from to , during which period he wrote the influential essays “Machines of the Visible” () and “Technique and Ideology: Camera, Perspective, Depth of. One does not see so many references to Jean-Louis Comolli these days, which is a shame since the influence of the former editor of the. 16 Jean-Louis Comolli: ‘Technique and Ideology: Camera, Perspec- tive, Depth of Field’ (May-June and July ). 17 Pascal Bonitzer: “Reality” of Denotation’.

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I believe in everything that goes on in this ideolpgy. This is what happened with the abominable scene where Le Pen plays his own character: I had already filmed the Front national in Tous pour un: There is a logic when you pass from a close-up to a long-shot. But his activity in the cinema extends far beyond this period.

Cinema against Spectacle: Technique and Ideology Revisited

For me, there is an almost direct continuity between my experience at Cahiers and my comoolli experience of shooting a film whose theme was based on such recent events. After this silence of several years duration, there was a transition period where I took up writing on jazz notably, on improvisation in jazzand then I felt able to start writing on the cinema again.

It was a very joyful adventure. I think this refusal is both technoque — on the theoretical and purely political level — and, at the same time, totally catastrophic. For example, think of the way actors work, think of certain types of dialogue. It reminds me of psychoanalysis sessions, where, for 40 minutes, the subject, the analysand, is supposed to speak, and this speech iddology supposed to be free: I explained to him that I needed his body to be filmed.


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Whereas in the past, I believed in it, and still do. Firstly, there is the long duration of the series. I needed to stop, I needed to separate myself from it all, I needed to repress part of what went on, with the failure of the left in France in the years When you film a documentary, you film everything, the entire subject: I was taken with the logic of theoretical practice, and when I went to make a film, I found myself in an entirely different kind of practice, which could no longer be theoretical, because, in the end, in order to think about the cinema, a practice is necessary, and this is where the questions present themselves: The spectator feels the sensation of witnessing a speech being invented on the spot, a living speech.

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Cinema Against Spectacle : Technique and Ideology Revisited

I think this discussion leads us to speak about what I consider to be your masterpiece, the grand series on politics in Marseilles which you made, along with Michel Samson, between and and which is now ideoloyy in a DVD boxset titled Marseille contre Marseille.

Where shall I put my camera?

The force of the presence of the body, the real inscription of the filmed body in the cinematic system, has something essential today, far more than it did earlier. It seems to me that the spectator finds his position on the basis of the forms used. Of course, the spectator is not in the position of the psychoanalyst, but nonetheless something presents itself to him which is not yet fixed, which is in the process of coming to life. Obviously, the longer the duration, the less control there is.

Making films became a more serious matter. The power of art is that the spectator — or the listener in music — can always have the feeling that he is playing with forms, and that the forms are not yet there, even if he knows very well that they are there.


Then, entirely by chance: It is not yet entirely inaccessible. They show that listening is very important, that it is essential to film with a camera as if it were an ear.

This text, as it turns out, marked the era in which it was written. Theoretically, I am still unable to truly come to terms with this, and to make cinema with coming to terms with this matter makes one a little weak. Alexa Actionable Analytics for kdeology Web. There is a logical connection between one shot and another.

Cinema Against Spectacle (): Daniel Fairfax and Jean-Louis Comolli – BiblioVault

And the question of belief is posed very starkly. University of Wisconsin Press. I think that the cinema itself iseology this question, because the cinema places the audio and visual data in a relationship which can never be tranquil.

Obviously, I read texts and newspapers from both movements, and I began to think that, when it comes to Marx and Bakunin, both are necessary.

Secondly, you give politicians an ample amount of time to express themselves, which television does not do. Product details Format Paperback pages Dimensions x x The hors champ [off-frame space] is essential because it leads back to the co-existence of what can be seen and what can not be seen.

The event is not really external to the spectator.