The veiled image: the luminous report

Authors

  • Jacques Aumont Universidade Paris III - Sorbonne Nouvelle

Keywords:

cinema, representação, técnica, luz

Abstract

Cinema invented, half a century later, boasted as being the most perfect reproducibility of reality, of the world. The veil reminds us that this perfection, in its automatism, is subject to error - a non-human error and, moreover, fascinating. The veil - and here, it does not matter that it is a light accident or a chemical accident - is what leaves in the "seamless" fabric of the ideal film a fault, a fissure. What do you see in this breakup? The real? Anything? A world of fantastically freely interpretable forms? One feels that the response depends on the idea of the cinema and even the cinematograph. I use this word intentionally, which Robert Bresson and Eugène Green clearly opposed, as is well known, to vulgar cinema, which is content to make fables with actors. In this extreme conception, cinema is very simply what reveals the real under reality, and for it the veil is an incongruity: be it the puerile character of light, unduly accentuates, and signifies an essential, but mutated, world-data. ; whether it be a taint of physical dissolution, authorizes matter to manifest itself in the world also illegitimately. Keywords: cinema; representation; technique; light.Cinema invented, half a century later, boasted as being the most perfect reproducibility of reality, of the world. The veil reminds us that this perfection, in its automatism, is subject to error - a non-human error and, moreover, fascinating. The veil - and here, it does not matter that it is a light accident or a chemical accident - is what leaves in the "seamless" fabric of the ideal film a fault, a fissure. What do you see in this breakup? The real? Anything? A world of fantastically freely interpretable forms? One feels that the response depends on the idea of the cinema and even the cinematograph. I use this word intentionally, which Robert Bresson and Eugène Green clearly opposed, as is well known, to vulgar cinema, which is content to make fables with actors. In this extreme conception, cinema is very simply what reveals the real under reality, and for it the veil is an incongruity: be it the puerile character of light, unduly accentuates, and signifies an essential, but mutated, world-data. ; whether it be a taint of physical dissolution, authorizes matter to manifest itself in the world also illegitimately. Keywords: cinema; representation; technique; light. EnglishPortuguese---------------AfrikaansAlbanianAmharicArabicArmenianAzerbaijaniBanglaBasqueBelarusianBosnianBulgarianBurmeseCatalanCebuanoChinese (Simplified)Chinese (Traditional)CorsicanCroatianCzechDanishDutchEnglishEsperantoEstonianFilipinoFinnishFrenchGalicianGeorgianGermanGreekGujaratiHaitian CreoleHausaHawaiianHebrewHindiHmongHungarianIcelandicIgboIndonesianIrishItalianJapaneseJavaneseKannadaKazakhKhmerKoreanKurdishKyrgyzLaoLatinLatvianLithuanianLuxembourgishMacedonianMalagasyMalayMalayalamMalteseMaoriMarathiMongolianNepaliNorwegianNyanjaPashtoPersianPolishPortuguesePunjabiRomanianRussianSamoanScottish GaelicSerbianShonaSindhiSinhalaSlovakSlovenianSomaliSouthern SothoSpanishSundaneseSwahiliSwedishTajikTamilTeluguThaiTurkishUkrainianUrduUzbekVietnameseWelshWestern FrisianXhosaYiddishYorubaZuluEnglish Open in Google TranslateFeedbackGoogle Tradutorhttps://translate.google.com/?hl=pt-BR O serviço gratuito do Google traduz instantaneamente palavras, frases e páginas da Web entre o inglês e mais de 100 outros idiomas.You've visited this page many times. 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Author Biography

Jacques Aumont, Universidade Paris III - Sorbonne Nouvelle

É crítico e universitário (professor emérito da Universidade Paris III - Sorbonne Nouvelle,diretor de estudos na E.H.E.S.S.), e ensina atualmente na École nationale supérieure des Be-aux-arts. E-mail: jacques.aumont@univ-paris3.fr

References

AUMONT, Jacques. L’Attrait de la lumière, Belgique/France : Éditions Yellow Now/ les Belles Lettres, 2010.

BAZIN, André. "Ontologie de l’image photographique", 1945, Qu’est-ce que le cinéma?, 1, Éd. du Cerf, 1958.

BERTETTO, Paolo. Lo specchio e il simulacro. Il cinema nel mondo diventato favola, Mila-no: Bompiani, 2007.

BRENEZ, Nicole. "Couleur critique. Expériences chromatiques dans le cinéma contempo-rain" (1995), De la figure en général et du corps en particulier, Paris-Bruxelles, De Boeck, 2000.

DIDI-HUBERMAN, Georges. Images malgré tout, Paris : Éd. de Minuit, 2003.

ELIAS, Norbert. Du Temps (1984), France : Librairie Arthème Fayard, 1996. GREEN, E. Poétique du cinématographe, France: Actes Sud, 2009.

MERLEAU-PONTY, Maurice. "Le cinéma et la nouvelle psychologie", Sens et non sens, Paris : Nagel, 1948.NOGUEZ, Dominique. Une renaissance du cinéma. Le cinéma « underground » américain

(1985), Paris : Paris Expérimental, 2002.

WOERNER, Meredith. “J. J. Abrams Admits Star Trek Lens Are ‘Ridiculous’” Disponível

em: http://io9.com/5230278/jj-abrams-admits-star-trek-lens-flares-are-ridiculous. Acessado em: 11.10.2015.

WITTGENSTEIN, Ludwig. Remarques mêlées, Mauvezin: T.E.R., 1990. ZERNIK, Clélia. Perception-cinéma. Les enjeux stylistiques d’un dispositif, Paris : Vrin, 2010.

Published

2015-12-11

How to Cite

AUMONT, Jacques. The veiled image: the luminous report. Revista GEMInIS, [S. l.], v. 6, n. 2, p. 9–29, 2015. Disponível em: https://revistageminis.ufscar.br/index.php/geminis/article/view/237. Acesso em: 21 nov. 2024.

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