Apertúra Film-Vizualitás-Elmélet
Winter, 2008. [Vol. III. Nr.2.] | Nyomtatás |


Ervin Török: Trace, over-determination and allegories of spectacle: a theatre of gestures (On The Third and Montage)

The article analyses two films: Gábor Bódy's The Third and András Jeles's Montage. The starting point of the exploration is the way two discourses - the Hungarian experimental cinema of the seventies and the present discourse on film theory - problematize and reinterpret the documentary aspects of film and photography. One of the decisive insights of the period is the fact that the document v.s. fiction dichotomy and the system of genre categories based on it are untenable. The paper explores the way the mentioned films address and reinterpret this question. These works are understood as experiments leading to valid insights, but presuppose different "semio-techniques". Both films point to the allegorical constructedness of the cinematic sign, but while Bódy stresses the plurality of the cinematic sign, Jeles suggests the restrictedness of the process of signification. (Full article in Hungarian)

Zoltán János Tóth: "Double projection". András Jeles: Montage

In this essay Zoltán János Tóth explores the interpretation of "double projection" in András Jeles's experimental film entitled Montage (1979). "Double screening" means that the images in the films bear the characteristics of both fiction and documentary. Since "double projection" is represented by the means of montage as technique, the author of the article examines the way Jeles reinterprets the ideas of the Soviet montage school at the end of the seventies. (Full article in Hungarian)

Judit Pieldner: Dialogue of Anti-Films. The Dog's Night Song - Dream Brigade

The paper aims at a parallel analysis of the concept of experimentalism manifested in the films titled The Dog's Night Song (1983, Gábor Bódy) and Dream Brigade (1983, András Jeles). Gábor Bódy's film makes use of documentary devices, and illustrates the director's concept of "double projection": the documentary and fiction are inseparable in film, thus the term "documentary" is related to both the material and the philosophy of film. András Jeles rejects the narrative patterns, and creates a non-narrative by making use of a complex destructive apparatus. The comparative analysis is carried out along the terms "post-documentary" and "post-narrative", along the subversion of film genres, the presence of fine arts and music, as well as in relation to the motifs of life, death and dream. (Full article in Hungarian)

Gábor Rumann: Experimental cinema or ars poetica? A comparative analysis of One Bagatelle and Audition

The essay is a comparative analysis of two films, Gábor Bódy's One Bagatelle and András Jeles's Audition. The primary consideration is the exploration of the experimental mentality of the two authors. The essay consists of two parts: Theory and Experiment contrasts Jeles's and Bódy's writings, while the second part (Two Bagatelles) analyses elements of the two films' subject and form. The essay examines the extent to which these films can be considered as synopses for the creative method, and looks at their characteristics that remain significant in the directors' later works. (Full article in Hungarian)

Gabriella Schuller: Theatre plays directed by Gábor Bódy and András Jeles

The article deals with the theatrical works of Gábor Bódy and András Jeles. Gábor Bódy directed only one performance, Shakespeare's Hamlet in Győr in 1981. The performance was given very unfavorable criticism. The article situates the performance in the context of the Hungarian theatres of the 70's and 80's and points to the fact that Bódy's Hamlet was too alien for the contemporary audience and their horizon of expectation due to the isolation of the Hungarian theatre, but would have been given an adequate theatrical and critical context and reception in the 90's.

The second part of the article is on the spectator's position in András Jeles's theatrical works. It uses a psychoanalytical approach to demonstrate how the death drive is at work in his last performance titled Old Acquaintances, 2007. In his oeuvre there are two other performances (Somewhere in Russia, 1991 and Hello Tolstoy!, 1993) which show similar tendencies. These three performances are the most radical examples of a 'sadistic' tendency in the oeuvre: Sade wrote about a devil-like dimension which we try to repress in ourselves - as Freud did when he wrote about the death drive as the kernel of the human psyche in Civilisation and its Discontents (Jacques Lacan draw this parallel in his seminar on Ethics of Psychoanalysis). András Jeles does a similar thing when giving free scope to jouissance by the use of an acoustic device through the spectacular other (i.e. the actor who is the support of the spectator's identification). This way he offers a redefined position to the spectator. (Full article in Hungarian)

Kérchy Vera: András Jeles's Living Marionette Theatre

In my paper I focus on the peculiar characters of András Jeles's films and theatrical performances with the aim to analyze the significant status of their representations. Jeles turns the actor's body (a guarantee of Presence) into a puppet, an immobile and rigid china-doll, a marionette supported by poles and strings. I rely on Kleist's "On the Marionette Theatre" and Paul de Man's concept of irony in order to reveal how Jeles's "living puppets" succeed in subverting the Presence in a deconstructive way. (Full article in Hungarian)

Gyöngyi Mikola: The Metanoia of the Lumber-Room

Zoltán Perovics, one of the most talented and inspired theatre-makers in Hungary, director and stage-designer of Metanoia Theatre from Szeged, has made an exhibition of his requisites, objects, stage properties, scenes of installations under the ironic title Lumber-Room of the Metanoia. The essay tries to give a new interpretation of these requisites and objects with regarding their collection as authentic sculpture. Also, the essay investigates similarities and parallels between art philosophy and visual world of two genuine 20th century artists, a painter from Belgrade, Leonid Šejka, and a Christian poet, János Pilinszky from Budapest. The main motifs and topics are the following: heap of garbage, the Factory and war machinery, the plastic art of tin, the landscapes of Chaos and homelessness of the modern City, possibilities of the way out from the Labyrinth of heap of garbage and a new future of the useless articles and activities. (Full article in Hungarian

Students' Workshop

Mohácsi Tamás: An analysis of Psyche from the point of view of semiotics, history of myths and intellectual history

The two key attributes of the film entitled Psyche are complexity and synthesis, i.e. the complexity of natural and spiritual scientific way of thinking as well as the synthesis of film language tools, the isomorphic-like correspondence between semiotic structures and structures of mythical and theoretical history. Bódy's commitment to totality, and his holistic approach to the world, searching for the correlations of macrocosm and microcosm, has resulted in creating a strange sort of total art (Gesamtkunst).

While Sándor Weöres was the virtuoso of literary language, Bódy was that of film language, therefore their encounter was nearly a must. By writing Psyche, Weöres created one of the strangest piece of Hungarian literature, developing his unique lyrical ornament by applying a baroque set of linguistic decoration. His pseudo-archaic language served as a basis for Bódy to establish a post-modern deconstruction of film language.

Psyche represents a spiritual approach to history. Although history is featured through specific historic events, the story of the main characters switches to an abstract mythical level. That is how the main characters do not grow older at all over a span of 120 years. From spiritual aspect the play depicts a complete cultural picture of historic periods synthesizing philosophy, science, arts and politics.

Weöres adopted a poetic tragedy of the mythological hero, Narcissus by László Ungvárnémeti Tóth. Echo from the Narcissus myth is replaced by Psyché, who struggles in vain to overwhelm her friend and fellow poet with her love. However, Bódy extended the myth to certify the theory that humanity's Narcissistic view on the world has been questioned. In Bódy's film Ungvárnémeti undergoes more metamorphoses. First as a poet he identifies with Narcisuss and appears as his reincarnation, then turns into a rational scientist of medicine and finally, he returns as an insane philosopher developing an irrational racist ideology ("The role of the individual in the perfection of fate"). (Full article in Hungarian)

Zoltán Major: Levels of meaning in Narcissus and Psyche

The article deals with Gábor Bódy's Narcissus and Psyche (1980). The film can be regarded as the practical realization of Bódy's theory about 'Gesamtkunstwerk'. Psyche is a film of many layers: it has different meanings at the level of characters, symbols, sound, music, video effect as well as at the level of the actors that represent the artistic scene of the 1970's and the objects of arts pictured in the film. The article contains some stills taken from the film which illustrate the director's theory of Gesamtkunstwerk. (Full article in Hungarian)

Géza Pintér: Analysis of the formalistic experiment in Gábor Bódy 's movie American Postcard

The article applies Gábor Bódy's semiotic theories in analysing his movie titled American Postcard. Such an approach is made particularly appealing by the fact that the movie and the theory applied are by the same author. The analysis helps us find the way of thinking, which records the experiments of the man of the age and on the other hand it probably can transmit us some actual message. (Full article in Hungarian)

Sarolta Pazár: 3?

The paper investigates the role of the triangular structure in Gábor Bódy's work. Three poles, three totally different film characters represent the triplicity of essential tendencies of the world which are in conflict with each other. Bódy's ouevre advances from order to chaos: in films made in the mid-70s the three poles create a mathematical system (Psyhocosmoses, American Postcard), later, in Psyche there are overlappings, crossings between the three main characters; finally in his late work the triangular structure of the main characters lead to chaos because of their schizophrenic personalities. (Full article in Hungarian


Erika Fám: From the viewpoint of the Universe

The review presents Gábor' Bódy s book titled Collected works on cinema, published by Akadémiai Kiadó in 2006, and describes the first volume from the three planned volumes, compares it with the earlier publications in which Bódy's writings were present, studies the book's style and structure as well as the illustrations and photos. (Full article in Hungarian)

László Kovács: Jump I Will, Jump - The Poetics of András Jeles

The volume entitled Teremtés, lidércnyomás (Creation, Nightmare) contains selected writings of Hungarian movie and theatre director András Jeles. Himself being a unique element of the national intellectual palette, the way he treats different aspects of filmmaking and cultural/social reality is also refreshingly insightful and sincere. Issues such as directorial intentionality, the function of the spectator's imagination, the functionality of the Hungarian actor in filmic production, or the possibilities of the scenic representation of the kiss are discussed on the basis of the author's extensive history in filmmaking and theatrical production. Pragmatic concerns are intertwined with greater philosophical considerations resulting in a general criticism of contemporary Hungarian cultural and intellectual climate, which in Jeles's view suffers from the hypertrophy of mimesis, monotony, and exhaustion. The included writings are organized around the process of creation, permeated by a nightmarish tonality, a consequence of the uncertainty of an unexpected and chaotic freedom entailed by the possibility of creating something completely new, outside the conventional limits of artistic production. The volume is characterized by an unusual textual heterogeneity and an almost poetic, though often laconic, style, which underlie a deconstructive effort to point out the dangers of a culture currently en route to intellectual simplification and desolation. (Full article in Hungarian


A sign-consciousness of the cinematographer : the ouevre of Gábor Bódy . Izabella Füzi's interview with Vince Zalán on Bódy's Collected Works (Full article in Hungarian)