Apertúra Film-Vizualitás-Elmélet
2012. winter | Nyomtatás |

Body, gender, territory

Edina Hatalyák: Kim Ki-duk: Bin-jip. The haunting vision of the body

Kim Ki-duk's camera intends to tell the story of the (filmic) body, which it can never fully grasp within the structure of cinema. Neither filmic body nor filmic space is homogenous, since both carry the possibility of the encounter with the Other, with another medium. This masterpiece of self-reflexive cinema represents a unique encounter between the filmic I and the photographic Thou. Bin-jip's camera reflects on the movements which turn Kim Ki-duk's film into an allegory of reading films. Besides, the encounter between the above mentioned two mediums, that is photography and film, gives way to some reflections on Maurice Merleau-Ponty's phenomenological notions of the body and of visibility. Kim Ki-duk's camera pans what Merleau-Ponty calls anonymous Visibility, in other words visible space. The director intends to "draw" with his filmic images Merleau-Ponty's notion of the Flesh, in which all relations are based on the bodily self-relation of the I to itself.
Full text in Hungarian →

Annamária Hódosy: A skirt and two pairs of trousers. Homosocial alternatives on film

The study examines the concept of homosociality in four films - The Crying Game, A touch of Mink and two versions of Robinson Crusoe - that offer variations of the ambivalent bonding between men as analyzed by Eve Sedgwick. Although very different in every other respects, these films all build their narratives on a love triangle including one woman and two men, where the relationship between the males is not the customary rivalry and seems to problematize the boundary between homosexuality and heterosexuality. Whether drama, comedy or adventure story, these narratives highlight how heteronormativity is constructed by inserting female intermediaries between the protagonist men, even when the female party is purely metaphorical.
Full text in Hungarian →

Tamás Juhász: A Foreign Woman in Foreign Texts. Hajdu Szabolcs's Bibliotheque Pascal and the Perspective of European Post-Colonialism   

This paper aims at establishing a complex intertextual link connecting Bibliotheque Pascal, regarded by many as quintessentially Central-European, and the phenomenon of post-colonialism, even if colonization is predominantly associated with non-European territories. Manifesting itself in the broader categories of gender, narration and cultural geography, this analogy permits the exploration of such phenomena as, for example, slave narratives, oral testimonies, double colonization, and what Deleuze and Guattari describe as minor literature (littérature mineure).
Full text in Hungarian →

Psychoanalytic, motivic

György Kalmár: Subject constructs on Elm Street

The article undertakes a double task. On the one hand it performs a psychoanalytical study of Wes Craven's horror classic, A Nightmare on Elm Street (1984). On the other hand, it attempts a critical rethinking, a propos of the film, of some basic concepts of psychoanalytic film theory, especially regarding the theory of the subject of horror. The analysis of the film takes the reader on a tour that leads to a number of insights about the subject of horror, insights that are inspired by Lacan, but seem 'less Lacanian' than the canonized ones (and maybe more Deleuzian or Derridean 'in spirit').
Full text in Hungarian →

Pál Z. Szabó: This is not a mere gun. Levels of reality in Buńuel's films

The aim of the study is to contribute to a nuanced understanding of psychoanalytical film analysis. Its actuality is given by the example of Louis Buñuel's Las Hurdes, usually considered as a documentary. This genre plays a special importance, since due to the expansion of 3D technology the illusionism of the moving picture has grown, while the importance of the motion picture as the means of artistic representation has been diminished by the entertaining industry. The documentary film as an artistic form, in contradiction with the false image of the alternative realities created by fiction forms, theoretically preserves the possibility of confronting reality. At the same time, documentary film is a double-edged weapon: it is equally suitable for the unprejudiced presentation of reality as well as for the manipulation of the picture of reality. Referring to the above mentioned ideas, our attention is called to the analysis of Buñuel's film, using, among others, psychoanalysis.
Full text in Hungarian →

Miklós Sághy: The Adaptation as the unconscious of the text

This paper focuses on the interrelations between a short story by Géza Csáth, Anyagyilkosság [Matricide], first published in 1908, and its film adaptation Witman fiúk [Witman Boys], directed by János Szász. In my analysis I try to show that not only does the film follow the original storyline very closely, but it also elaborates the motive structure behind the superficial and minimalized narrative. In my opinion, the film by Szász, through cinematographic language, formulates the psychoanalytic substructure of the act of matricide depicted in the short story. 
Full text in Hungarian →


Erika Fám: A picture journey. Inste picture and inset time - games of Chronos in Zoltán Huszárik's Sinbad

Zoltan Huszárik´s Sinbad is one of the few Hungarian films that have a special visual and medial diversity. It addresses the issue of mediality with the particular form of the self-reflexive film, utilizing the full potential of intermediality. This film is a medial projection of the very varied forms of pictures. Photos, paintings, frescoes, drawings, films, tapestries appear as integral parts of the film image, the medial differences are strengthening the co-existence of the images. The study wants primarily to illuminate the visual, film-visual aspects of Huszárik's films, through an examination of  the medial interferences, analogies, visual integrations, transplantations  of  pictures, attempts to get the content of  Krúdy's world, and the way sailors experience time.
Full text in Hungarian →

Imre Vígh: Sinbad's memory technique

This essay focuses on the memory technique of Sinbad, a Hungarian feature film, released in 1971. In the author's opinion the film is approachable with the same theories and ideas that readers can use when analyzing Gyula Krúdy's short stories. This thesis is supported primarily by Henri Bergson's ideas on remembrance and Tibor Gintli's script based on The Youth of Sinbad by Gyula Krúdy. The essay sketches the theoretical frame in connection with the short stories, then applies them in understanding the film adaptation. Finally, the author concludes that there are concepts that prove more relevant for the study of the film than others.
Full text in Hungarian →

Student's workshop

Gábor Bakos: The objectified space art of Erzsébet Schaár

Sculptures by Erzsébet Schaár, which represented an original style in the 1960s, are compared in the article to the space arrangements in Alain Resnais' Last Year at Marienbad. The Hungarian artist was significantly influenced by French cinema, its abstract visual style combining art, architecture and film. The comparative analysis carried out in this study is supported by the idea that in the late modernist art of the 1960s the art of modeling was renewed through the characteristics of film, such as the dynamics of movement, the sense of time filling space (possibilities of creating space based on visual and tactile stimuli), and providing the sense of invisible time through the virtual creation of space.
Full text in Hungarian →

Gergely Sándor Birkás: The fusion of film and videogame in contemporary visual culture

Within the scope of just a few years, videogames have become the experimental ground for contemporary visual culture. The first section of the study points out the significance of the fact that digital technology is expanding and that this entails a homogenizing effect. The background technology of videogames may function as a multicolored mixture. The next section deals with the topic of intermediality: after an overview it labels digital contents based on Katalin Sándor's system. As a next step, the article examines the new possibilities of narration within the digital context, followed by the discussion of the relationship between simulation and narrative. Following the discussion of theoretical issues, the essay presents the increasingly close relations and practical ties between the film industry and the videogame industry. As a last step, the essay focuses on attributes of videogames that address different types of recipients (viewers and users) based on their experience and activity.
In order to break to the center of the popular culture preferring narratives, video games had to incorporate traditional techniques of telling stories. Recently this has been surpassed by options that provide new solutions for telling stories, making the user feel more deeply involved in the narrative.
Full text in Hungarian →