Apertúra Film-Vizualitás-Elmélet
Spring, 2009. [Vol. IV. Nr. 3.] | Nyomtatás |

Timothy Mitchell: Orientalism and the Exhibitionary Order

Timothy Mitchell explores the way patterns created by colonialism about the non-Western world relate to the representational logic of the West that consolidated in the nineteenth century. Mitchell demonstrates the mechanisms of this representational logic on the examples of the 1867 and 1889 Paris World Fairs, from the perspective of the exhibited world of Egypt - in other words, from a perspective that is Eastern, not Western. The study examines the world of orientalist exhibitions, world fairs, streets of Paris, trade halls, panoramas and uranoramas, adopting the focus of Middle-Eastern accounts of these spectacles, which themselves were the targets of the objectivising gaze of the modern spectators, and which were unintentionally becoming parts of the theatrical machinery.  
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Andrea Éva Tóth: Cinema in the exhibition hall

The author of the article discusses the theoretical questions raised by films that have left their classical social space, the movie theater, and have moved into museums, galleries of contemporary art or into other locations. The article, among other things, searches for answers that explain the reason of this migration, whereby the moving pictures, leaving the movie theater, shifted their residence to the illuminated galleries, thus taking the classical place of paintings and sculptures. Based on literature on the subject in English and French, the author investigates the topic of categorizing films that appear in the context of the museum, and the way films are transformed in this process of delocalisation. The article also touches upon the subject of how the viewer's position metamorphoses in a situation that is different from a position of the spectator in a classical movie theater and also, how this phenomenon of film dislocation fits into the concept of contemporary art.
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Zoltán Gyulai: (Heterotopical) spaces of a dystopia: On George Orwell's 1984

The article offers an interpretation of Orwell's 1984 in which the metaphors of space are examined as structures that function as organising principles of the narrative. The rich and diverse topic of space offered by the genre of dystopia defines not only the poetics of the novel, but seems to prescribe the subject as well as the logic of authentic speech performance. This duality is one of the topics explored by the essay.
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Izabella Békés: The nonexistent treasure: The case of the Elgin-marbles

The central theme of the essay is the exploration of diverse aspects of the debate between Britain and Greece related to the quasi-stealing of the Elgin-marbles. The British point of view is presented with the help of the Heideggerian term "revealing". In the context of a broader discourse on museums, the author concentrates on scrutinizing the power-related aspects of an institution representing authoritative politics, as well as revealing the motives behind acquiring the work. The marbles, work of Greek sculptor Phidias, were transported to Britain in 1801 by Lord Elgin, ambassador to Istanbul. According to the Greek argument Lord Elgin had simply stolen the marbles, and for this reason the Greek party has been requesting the return of the marbles since 1829. The British version of the event is that the marbles were acquired legally, and thus there is no possibility for their return to their original place.
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Miklós Sághy: Stubborn realism. What kind of fiction is reality?

In my essay I explore the problem of pictorial realism. On the one hand I focus on the conceptual conditions and acquired circumstances of vision which influence the perception of reality, while on the other hand I examine the perception of the quality of reality that is attributed to pictures. I also try to show the significant difference between the realism theories (Bazin, Barthes, Kracauer) and the opinions which argue that the realistic representation does not depend on simple imitation, but on inculcation (Goodman, Nietzsche).
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Gábor Gelencsér: Modifications: The realism theory of Miklós Mészöly and the avantguard documentarism of the seventies

At the turn of the sixties and the seventies, Miklós Mészöly's work had a double tie to the contemporary trends of Hungarian cinema. One connection was the adaptation of István Gaál's novel Magasiskola [Falcons]. The other was his theoretical work on realism, relying on the guidance of cinéma direct. The essay - a continuation of the author's earlier analysis of Falcons, detects the effects and afterlife of Mészöly's film theory from the mid-seventies as it surfaces in the work of authors and directors associated with Balázs Béla Studio.
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Mark Vernet: The ideal

In the last chapter of his Figures de l'absence Marc Vernet analyses a single film: Joseph L. Mankiewicz's A Letter to Three Wives from 1949. In his study he examines the attributes of Addie Ross, a character who is not present in the film, while at the same time he explores in great detail the relationship of the three couples present. Apart from interpreting the shots, he discusses the differences between the screenplay and the short story serving as the source of the screenplay, and pays attention to the costumes as well.
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Jim Hillier: Swimming and sinking: form and meaning in an avant-garde film

Jim Hillier analyses a 1990 movie of an American indie/avant-garde director Sue Friedrich, entitled Sink or Swim. The essay explores the relationship of the film to the traditions of ethnographic and subjective documentaries, as well as to realistic cinema. As for the legitimacy of interpretations, the essay explores the borderline between still and not yet legitimate, trying to map up the significance of meaning of the film that has set itself free from the classical traits of narrative. The frustration that roots in the narrative expectations of the audience that are not met by the movie is linked to "narrative jouissance", broadening the relevance of the conclusion based on Sink or Swim to avant-guard films in general.
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Zsolt Zsombor Kapás: The characters' subjectivity in Daren Aronofsky's films

The treatment of character subjectivity in a key question of filmic narration - an aspect which gains a specific significance in the works of Darren Aronofsky. The study differentiates between six categories, ways of expressing subjectivity, all of which can be linked to respective forms of expression and narrative significance. The first three films of Aronofsky (p from 1998, Requiem for Dream from 2000, and The Fountain from 2006) apply the tools belonging to given categories intensely and diversely. These respective subjective narrative options are present in individual works with different intensity, but it is unquestionable that they always have a central role. Based on the diverse way of expressing character subjectivity, Aronofsky's films offer a unique way of narration, and adorn the works with special artistic quality, making them significant in the larger context of filmmaking.
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Dániel Turi: Through Hollywood darkly? Representation of the crisis of consciousness in adaptations of Philip K. Dick's prose

The essay examines adaptations based on the works of Philip K. Dick focusing on the ways these adaptations treat the problem of human consciousness vis-á-vis the way the same problem appears in the original texts. The central claim of the argument is that these conclusions are usually lost in adaptations applying classical Hollywood-type narratives. A detailed analysis is devoted to Richard Linklater's Throug a Camera Darkly, which, according to the author of the article, is closer to the perspective of the novel, because certain forms of expression (such as the rotoscoping technology enriching the texture of the live-character movie with drawn animation) create a certain "idiom", and thus establish a characteristic relationship to Dick's novel.
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