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Jean-Louis Comolli (born 30 July ) is a French writer, editor, and film director. He was editor in chief of Cahiers du cinéma from to , during which period he wrote the influential essays “Machines of the Visible” () and “Technique and Ideology: Camera, Perspective, Depth of. One does not see so many references to Jean-Louis Comolli these days, which is a shame since the influence of the former editor of the. 16 Jean-Louis Comolli: ‘Technique and Ideology: Camera, Perspec- tive, Depth of Field’ (May-June and July ). 17 Pascal Bonitzer: “Reality” of Denotation’.

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It is evident that we had no idea of what was really happening in China during this time: At the same time, a fratricidal struggle had been unleashed among the successors coomolli Gaston Deferre. With documentary filmmaking you can do this. So the question is posed of the tension between the group and the individual.

“Yes, we were utopians; in a way, I still am…”: interview with Jean-Louis Comolli (Part 2)

And I would even say that going to the cinema to watch a film is a stronger gesture than watching fireworks, when it comes to subjectivity, the subject, etc. It is also a way for us to realize that, for Comolli, knowledge production is fundamentally relative and impossible to disentangle from broader concerns and connected practices: Shots showing people listening are very numerous in this series. A screening always takes place in the present.

Even if the Nazis had wished to film the gas chambers, they were held back from doing so by fear.


The cinema spectator is much more interesting and much more complex than the spectator of a spectacle. And this is where Le Pen show his true colours: It was also the moment that I discovered techniqu I would later call improvisation.

I could not grant myself the liberty of breaking with this collectivist logic in order to make a film.

The structure of Marseille en mars was based on long strolls with the various figures involved in the campaign, with lateral tracking shots alternating between politicians and journalists. Secondly, I had an uncle who was a baker in Marseilles, and I once spent iceology summer holidays with him there, which made a strong impression on me. In the second conception, spectacle, everything is already there, and all you have to do is marvel at the work of the Gods.

So they prohibited any filming. As it happens, the city of Marseilles occupies a special place in my mind, for a very simple reason, linked to my childhood. I was pretty much infused with this. In response to Mitry, he writes: This is practice, but it is also theory. Sade Fourier Loyola left a strong impression on me. Amazon Inspire Digital Educational Resources.

Depth of Field | Jeff Scheible –

Firstly, because he has not yet learned to repress the here and now of the filming process, as actors do, and secondly, because he must be filmed as such, as he really is.

You can change the story, you can re-write the script, you can do anything. Get fast, free shipping with Amazon Prime. He had lost some of his convictions, he had lost the possibility of applying this renowned theoretical practice to the film set, and so this weakening was, in fact, very beneficial.

So the passage to filmmaking practice involved a repression of what went on beforehand, and I found myself all alone, with a film to make. This film focussed on the manner in which the vocabulary of the Front national had come to be used by all the tecnnique parties in Nice during these regional elections.


This text, as it turns out, marked the era in which it was written. Dispatched from the UK in 2 business days When will my order arrive? In a way, the Cultural Cmoolli was my path to this thinking. So this question was posed, and I made Rossi the main character of the film, as a character who does not want to take power.

Be the first to review this item Would you like to tell us about a lower price? There is a challenge here. The lure only functions if there is belief. We were cinephilic activists, active in spreading cinema. Later, I compared the film set to a funeral ceremony. I found myself in a situation of an absolute lack of control, wherein I had lost the force techniuqe the group.

The cinematic image, as I said in a rather simple manner, has become naturalised. Without being overly expensive, the film cost a lot more to make than La Ceciliaand thus had to be much more organised — with a work schedule, precise dates, and so on.

The ifeology of the ideollgy is central.

The Intervals of Cinema. The Redemption of Physical Reality.