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Publicação
A Physis Natural e o Sublime Tecnológico no Cinema Experimental Austríaco em Três Estudos de Caso
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Resumo(s)
Peter Kubelka, Kurt Kren and Peter Tscherkassky represent three different generations of Austrian avant-garde cinema. In this paper, I analyze one “opuscule film” from each of these filmmakers, namely Arnulf Rainer (1960), 37/78 Tree Again (1978) and Train Again (2021). These works engender and manifest the nature of the film in the film, emphasizing the “haptical” senses, claiming the visceral qualities of the film, reminding us that film is also made of organic materials and can also be considered a living being, susceptible to its own death. We demonstrate how, in the dialogical clash between two “bodies” – the filmic corpus and the spectatorial body –, a manifestation of nature (physis) can emerge. These films also investigate the apprehension of time, considered to be the “nature” and one of the intrinsic qualities of the cinema. It was precisely through the observation of still life and the natural landscape that several artists sought to capture the labile, impalpable, and atmospheric qualities of temporality. Apart from exposing how these “natural” studies return in these three case studies, we also demonstrate how these films approach the concepts of the Kantian sublime, now through a shift that substitutes the forces of nature by the forces of technology. We conclude that each of these filmmakers elaborates, in his own way, new chapters on the relationship between cinema and nature, in a dialectical and intermedial apprehension within the visual arts field. To achieve this, we use concepts from Jacques Aumont, Giorgio Agamben, David E. Nye and Victor Stoichita.
Descrição
UIDB/05021/2020
UIDP/05021/2020
Palavras-chave
Cinema and nature Cinema and other arts cinema and philosophy Experimental cinema Intermedia studies Structural cinema Arts and Humanities (miscellaneous) History Visual Arts and Performing Arts Cultural Studies