Apertúra Film-Vizualitás-Elmélet
Fall, 2008. [Vol. IV. Nr. 1.] | Nyomtatás |


Jonathan Bignell: From detail to meaning: Badlands (Terence Malick, 1973) and cinematic articulation

Based on the analysis of individual scenes from Badlands, the essay investigates the movie along major film theoretical questions, such as genre, gender, or the context of American film history, and finally arrives at general problems of film criticism and film analysis. This way film analysis itself becomes the ultimate topic of his film analysis. [Full text in Hungarian]

Marc Vernet: Portrait of dead souls

Young woman, ageing men, (haunted) manor, and a portrait of a deceased woman on the wall. In the fourth chapter of Figure de l'absence Marc Vernet investigates the plot structures of American gothic movies from the 1940s. What is the function of the portrait: does it represent a super ego that absorbs the vitality of the female characters, or does it transform them into preys? The essay also deals with the types of viewers' expectations satisfied by films using portraits. [Full text in Hungarian]

Zoltán János, Tóth: The rhetoric of historical film

The author examines changes in signification in historical films which have transformed the mise-en-scène of the genre in the past decade. Is this change substantial, or reflects the lack of reflection on the historicity of signs used for representing history? Focusing on the sets, costumes and language used in big budget films made after the turn of the millennium the author detects differences of argumentation techniques used in historical films. The "New" historical film which uses seemingly more effective tools for modeling is shown to be no more successful in anchoring its referent than its predecessors. [Full text in Hungarian

Attila Kiss: Cinematographical Anatomy: Gábor Bódy's Stage of Consciousness

This paper investigates an example of the theater - film interface. Recent studies in mediality have given new impetus to the postsemiotic theories of adaptation and representational logic. Film theories have amply benefited from comparative investigations into the analogies and differences between theatrical and cinematic representational techniques. My focus here is on Shakespearean scholarship and the reinterpretations of the early modern theater, as well as the bearing these new findings had on filmic representation. I intend to establish a connection between the two fields by attempting an analysis of a production of Hamlet by the pioneering figure of experimental Hungarian theater and film, Gábor Bódy. The cultural practice and public spectacle of anatomy will be the example which will connect in my argumentation the early modern and the postmodern, as well as the theatrical and the cinematic. I would like to shed light on how Bódy's work can be interpreted as a peculiar premonition of critical trends that emerged after his experiments. [Full text in English

Zsolt Győri: Churchill as "Film Critic" - The Politics of British War-Cinema

The aim of this paper is to address the interrelated fields of politics, nation and cinema in the period of the Second World War, in short to reflect upon the uses and abuses of political cinema. The study of British propaganda cinema is by no means a groundbreaking topic, it has been discussed to varying degrees and depths by several monographs, most notably Britain Can Take It by Tony Aldgate and Jeffrey Richards. The Cinema and Society series (I.B Tauris Press) edited by Richards has revealed a treasure-chest of essential material on the topic, but has yet failed to come up with a volume that examines theoretical issues and offers a theoretical framework that would contextualize the archival material compiled by the film historian and historian. The following sections are to be read as notes towards such a line on inquiry. [Full text in English

W.J.T. Mitchell: The Unspeakable and the Unimaginable: Word and Image in a Time of Terror

W.J.T. Mitchell examines the question of the unspeakable and the unimaginable from several points of view. After summarizing the interrelation between word and image, he turns to the investigation of the unspeakable and the unimaginable as a violation of the borders of word and image. He demonstrates this idea via a semiotic analysis in which the double notion of word and image is conflated with the problem of signifier and signified. The argument aims at examining the logic of terrorism, which may be approached through the classical question of word and image. The problem of terrorism and image is contextualized within the discourse on cloning. Finally, the "cloning of terrorism" is described as the phenomenon in which image making and the technology of warfare are connected. [Full text in Hungarian]

Hans Belting: Image, Medium, Body: A New Approach to Iconology

The article proposes a new kind of critical iconology, which concentrates on the triad of image, medium and body, and examines the interrelationship between the elements of this set. Physical pictures and mental images are considered to be two sides of the same coin, providing a definition of images which happen or take place in medial representation and perception. [Full text in Hungarian

Student's Workshop

Izabella Békés: Crash Art

My essay analyses the attributes of irregular (car)accident, the aphrodisiac, and personality-shaping effects, which influence victims of accidents, as it appears in David Cronenberg's movie, Crash. I suggest that crash, and new sensibility (is introduced by one of the main characters of the movie, Vaughan), can be understood as artistic forms, laid in the institutional system of art. [Full text in Hungarian]

Linda Huszár: An anachronistic film: Derek Jarman: Wittgenstein

In this not particularly "film-like" film from Derek Jarman we face an irregular organization of view, and a mise-en-scène literally adapted for the stage. These characteristics are not only provoking formal gestures to remind us that filmspace has been artificial at all times, but a sort of stylizing to create an intellectual scene of action, both for the actors and our reception.

The essay tries to put this interpretation into practice. It also touches upon the unusual structure of narrative levels, and scrutinizes the border-line of genre to deal with Wittgenstein as a biography. [Full text in Hungarian]