Hiển thị các bài đăng có nhãn Jacques Rancière. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn Jacques Rancière. Hiển thị tất cả bài đăng

Thứ Năm, 26 tháng 6, 2014

Now ONLINE! Jacques Rancière's Lecture on ‘Cinema and the Frontiers of Art’ at CFAC, University of Reading



Jacques Rancière Lecture on ‘Cinema and the Frontiers of Art’ at CFAC, University of Reading, May 2, 2014

Private Q & A Session with Jacques Rancière, preceding his Lecture on ‘Cinema and the Frontiers of Art’ at CFAC, University of Reading, May 2, 2014

The above videos provide the sole focus for a fairly self-explanatory -- and wonderful -- entry at Film Studies For Free today: they present the recording of a lecture and discussion on cinema by the hugely eminent French philosopher Professor Jacques Rancière at the Centre for Film Aesthetics and Cultures, University of Reading, UK.

Rancière's abstract for his lecture, which took place on May 2, 2014, reads as follows:
Ars gratia artis, the three words written on the scroll surrounding the head of the roaring lion at the beginning of the MGM movies may sum up the singularity of cinema. Cinema has blurred in many ways the frontiers separating pure art from the activities of the everyday and the forms of popular performance and entertainment. By the same token, it may have questioned the very unity of what we call art. Through examples borrowed from the history of film and from the history of cinephilia I wish to examine some aspects of this subversion of the frontiers of art.
Jacques Rancière, born in Algiers (1940) is Emeritus Professor at the University of Paris VIII, where he taught Philosophy from 1969 to 2000, and visiting professor in several American universities. His work deals with emancipatory politics, aesthetics and the relationship between aesthetics and politics. His books translated into English include notably: The Ignorant Schoolmaster (1991), Disagreement (1998) , The Politics of Aesthetics ( 2006) , The Future of the Image ( 2007), The Emancipated Spectator (2009), Proletarian Nights (2012) and Aisthesis (2013). He has authored three books dedicated to cinema (Film Fables, 2006; Bela Tarr. The Time after, 2013; The Intervals of Cinema, forthcoming, 2014)

Thanks to Professor Lúcia Nagib and the other faculty at CFAC for making this event happen and, especially, for making the recording accesible online for everyone to watch it. Rancière's lecture begins about fifteen minutes into the first video.

Thanks to Hoi Lun Law for the tip-off that these recordings had gone online. FSFF can't wait to watch them!

Thứ Ba, 19 tháng 6, 2012

Welcome to NECSUS, A New Open Access Film and Media Studies Journal

Frame grab from The Virgin Suicides (Sofia Coppola, 1999). Read Anna Backman Rogers's article on this film at the new NECSUS journal.

Hot off the press! To coincide with its annual conference, taking place in Lisbon from tomorrow, the European Network for Cinema and Media Studies (NECS) has just launched its new online and open access journal NECSUS. Feast your eyes on the marvellous contents of its first issue on Crisis below.

It has been added to Film Studies For Free's permanent listing of online and open access film and media studies journals. And now FSFF's author will read it! Yay!

Enjoy the conference, fellow NECS members!


Spring 2012: Launch Issue

Special Section: Crisis

Book Reviews:

Conference Reviews:

Festival + Exhibition Reviews:

Thứ Sáu, 8 tháng 6, 2012

"Goodbye Cinema, Hello Cinephilia" Masterclasses in Film Criticism by Adrian Martin, Jonathan Rosenbaum and Jacques Rancière



Jonathan Rosenbaum KASK cinema Gent 28/10/11 from Courtisane Festival on Vimeo.

Jacques Rancière - Bozar studios Brussels - 18/11/'11 from Courtisane Festival on Vimeo.

“For me, film criticism is not a way of explaining or classifying things, it’s a way of prolonging them, making them resonate differently”

Today, Film Studies For Free presents some videos it's been meaning to link to here for an age: a series of very extensive, and very wonderful, masterclasses given by Adrian Martin, Jonathan Rosenbaum and Jacques Rancière in Brussels in 2011.

Their talks, part of the "Goodbye Cinema, Hello Cinephilia" project, explore the status and possibility of cinephilia and film critical thinking. These astonishingly good events took their title from the wonderful 2010 book by Jonathan Rosenbaum.

Below are a few related links, including one to FSFF's mammoth collection of online writing on cinephilia.

Thứ Ba, 3 tháng 1, 2012

New Issue of CINEMA: Journal of Philosophy and the Moving Image

Jeff Wall's photograph A Sudden Gust of Wind (after Hokusai), 1993 (courtesy of Wikipedia)

Today, in its continuing series of catch up posts on new offerings from open access film e-journals, Film Studies For Free brings you links to the contents of the latest issue of Cinema: Journal of Philosophy and the Moving Image.

Of particular interest, this time, are Tom McClelland's clear-eyed account of the respects 'in which the medium of film and the discipline of philosophy can intersect', Agustín Zarzosa's detailed evaluation of Rancière’s criticism of Deleuze, and Temenuga Trifonova's terrific discussion of the ways in which contemporary photography, like that of Jeff Wall mentioned above, 'seeks to reclaim the cinematic within the photographic from within the twilight of indexicality'.

Cinema: Journal of Philosophy and the Moving Image, No. 2 (2011)

Abstracts and Contributors

Articles
Interview
  • Questions for Jacques Rancière around his book Les écarts du cinéma (English version and French version): Conducted by Susana Nascimento Duarte
Conference Report
In Portuguese: 
Translation

Thứ Năm, 27 tháng 5, 2010

Amsterdam fine links!


Image from Solaris (Andrei Tarkovsky, 1972), based on Stanisław Lem's 1961 novel. Read BC Biermann's film-philosophical PhD Thesis chapter on this film adaptation

A little window of opportunity for Film Studies For Free's author to bring you one of this site's regular features today: a report (or, more accurately, a labour-intensive links-harvest) from a University research repository, one of those online archives in which, on occasion, academics choose not only to store references to their published film studies work, but also to provide Open Access to that work.

The repository in question today is that of the University of Amsterdam/Universiteit van Amsterdam (UvA), home to one of the best Film and Media Studies departments in the world. Below is a list of links to an amazing spread of very high quality film research accessible there, most of it in the form of full-length PhD theses.

Thứ Hai, 3 tháng 11, 2008

Artists and Filmmakers' Favourite Films: frieze magazine

Screenshots from films by Clio Barnard

GreenCine Daily, Film Studies For Free's favourite site for 'Film on the Web' news, today brings word of an article (link to it HERE), in the latest, online issue of art magazine frieze, by filmmaker Clio Barnard (a former colleague of this blogger at the University of Kent). The article is part of an ongoing series in which frieze asks artists and filmmakers to list the movies that have influenced their practice.

Barnard is an artist/filmmaker, whose work has shown in cinemas, international film festivals and galleries, including Tate Modern and Tate Britain. She was one of the winners of the 2005 Paul Hamlyn Award for Artists and in 2007 was awarded a major commission from the Art Angel, which will involve an ambitious live performance and feature-length film.

FSFF already links to an online film by Barnard - the wonderful Dark Glass (1 min. 16 seconds, 2006; direct link to MP4 HERE; and to QuickTime HERE), part of the SingleShot series of 'newly commissioned film and video works -- shot in one single take -- by artists and new talent'.

As the Tate Modern website describes it,

Shot on a mobile phone, Clio Barnard’s Dark Glass is a taut micro-drama that visually recreates a spoken description of family photographs recalled under hypnosis. Although the recollection appears incredibly compelling, it also possesses an inherent instability, so that we are never quite sure what we’re hearing or seeing, something further emphasised by the unsteady nature of the image itself, which lends an apparitional quality to this apparent act of truth-telling.

HERE's a link to a good article about the SingleShot films by Aaron Callow for aestheticamagazine, with a few paragraphs dedicated to Dark Glass.

Below are direct links to the other frieze articles about films that have influenced particular artists and filmmakers' work; most are illustrated with video clips from the films:

Issue 101 September 2006:The Otolith Group
Issue 102 October 2006:David Noonan
Issue 103 November-December 2006: Rebecca Warren
Issue 105 March 2007: Runa Islam
Issue 106 April 2007: Jia Zhangke
Issue 107 May 2007: Luke Fowler
Issue 108 Jun-Aug 2007: Hamish Fulton
Issue 109 September 2007: Steve McQueen
Issue 110 October 2007: Rosemarie Trockel
Issue 111 Nov-Dec 2007: James Benning
Issue 113 March 2008: Peter Doig
Issue 114 April 2008: Hito Steyerl
Issue 115 May 2008: Mark Leckey
Issue 116 June - Aug 2008: Raqs Media Collective
Issue 117 September 2008: Babette Mangolte
Issue 118 October 2008: Duncan Campbell
Issue 119 Nov-Dec 2008: Clio Barnard

One final frieze-related Film Studies For Free tip: check out the frieze podcasts. There are interesting ones on: The Expanded Gallery: Mass Forms for Private Consumption; The Expanded Gallery: I Am Not a Flopper Or… (Allan Smithee-related!); and Art, Politics and Popularity (with Jacques Rancière).