Thinking filming thinking filming

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Cubitt, Sean (2009)

There are two forms of creative practice:(a) Formal perfection, which poses itself as the negation of the contradictory nature of the human world; (b) formal contradiction, which articulates the contradictions of the human world.Very rarely something attempts both. This is the case with Jean Renoir’s La Règle du jeu (1939), which is formally perfect but which, to invert Coleridge’s definition, also contains in itself the reason which it should be otherwise rather than so. The tuché or blind spot articulating these modes is the shot of the frog croaking in a ditch just before the climactic murder. Like the deliberate inclusion of imperfections in the arabesques adorning certain mosques, this tuché is an admission that perfection belongs to an order other than the human - in Renoir’s case, to the order of nature, as among the mosque builders to the order of God. But Renoir’s tuché is only the formal articulation of an imperfection which runs throughout the film. This imperfection is the result of the attempt to give a realist account of an unreal condition: the class structure of the château. (Published: 2 December 2009) Citation: Journal of Aesthetics & Culture, Vol. 1, 2009. DOI: 10.3402/jac.v1i0.2122
  • References (13)
    13 references, page 1 of 2

    1. Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, trans. Alan Sheridan (New York: Norton, 1981), 53 64.

    2. Karl Marx, Grundrisse, trans. Martin Nicolaus (London: Penguin/New Left Books, 1973a); see Sean Cubitt, 'Virtual Dialectics and Technological Aesthetics', Cultural Politics 4, no. 2 (2008): 133 54.

    3. Theodor Adorno, Negative Dialectics, trans. E.B. Ashton (London: Routledge, 1973), 8.

    4. Peter Osborne, The Politics of Time: Modernity and the Avant-Garde (London: Verso, 1995).

    5. Onedotzero, adventures in moving image (http:// www.onedotzero.com/); the group have produced annual festivals of motion graphics and innovative digital animation and cinema since 1997.

    6. Theodor Adorno, Aesthetic Theory, trans. Robert Hulot-Kentor (London: Athlone 1997), 41.

    7. Adorno, Aesthetic Theory, 42.

    8. Saint Augustine, Confessions, trans. R.S. Pine-Coffin (Harmondsworth: Penguin 1961), Book 6, Chapter 3, 113 5.

    9. Maurice Merleau-Ponty, The World of Perception, trans. Oliver Davis (London: Routledge, 2004), 85. Erwin Panofsky, Perspective as Symbolic Form, trans. Christopher S. Wood (New York: Zone Books, 1991). See Nick Browne, ed., Cahiers du Cine´ma, Volume 3: 1969 1972 The Politics of Representation; An Anthology from Cahiers du Cine´ma nos 210 239, March 1969 June 1972 (London: BFI/Routledge, 1990). Stephen Heath, Questions of Cinema (London: Macmillan, 1981). Andre´ Bazin, What is Cinema, trans. Hugh Gray, Volume 1 (Berkeley, CA: University of California Press, 1967); Volume 2 (Berkeley, CA: University of California Press, 1971). Stephen Stephen and Theresa de Lauretis, eds., The Cinematic Apparatus (London: Macmillan, 1980).

    Anne Friedberg, The Virtual Window, from Alberti to Microsoft (Cambridge, MA: MIT Press, 2006).

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