By Nenad Jovanovic
In Brechtian Cinemas, Nenad Jovanovic makes use of examples from opt for significant filmmakers to delineate the range of how during which Bertolt Brecht's inspiration of epic/dialectic theatre has been followed and deployed in overseas cinema. Jovanovic significantly engages Brecht's principles and their such a lot influential interpretations in movie reviews, from gear conception within the Seventies to the shortly dominant cognitivist method. He then examines a large physique of flicks, together with Brecht's personal Mysteries of a Hairdressing Salon (1923) and Kuhle Wampe (1932), Jean-Marie Straub and Daniele Huillet's History Lessons (1972), Peter Watkins's La Commune (2000), and Lars von Trier's Nymphomaniac (2013). Jovanovic argues that the function of montage--a relevant resource of creative estrangement (Verfremdung) in past Brechtian films--has lowered a result of technique's conventionalization via ultra-modern Hollywood and similar industries. working as basic brokers of Verfremdung in modern motion pictures encouraged by way of Brecht's view of the realm and the humanities, Jovanovic claims, are conventions borrowed from the most medium of his expression, theatre. Drawing upon an unlimited variety of resources and disciplines that come with cultural, movie, literature, and theatre stories, Brechtian Cinemas demonstrates a persisted and large relevance of Brecht for the perform and figuring out of cinema.
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Extra resources for Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier
The opposite of naïve representation is naturalism. (190)1 Most of the purported Verfremdungseffekte of the Flemish master’s images concern their thematic contrasts, such as that between the titular event in “Icarus” and the serenity of the painting’s other figures, oblivious to the tragedy taking place in the depicted moment. Brecht’s use of juxtaposition as an organizational principle, previously indicated, has led Joachim Schacherreiter (1988) to describe his episodic dramaturgy in terms applicable also to Bruegel: those of “Bilderbogen,” the hand-painted prints showing thematically connected images of popular subjects, widespread in Europe of the eighteenth and nineteenth centuries.
22 Optical illusions, then, are defined by their persistence in spite of our cognitive correction of our faulty perception of them. 23 This impression can occur if we see from the right spot the fresco on the flat ceiling of the Church of St. Ignazio in Rome, where the painting’s use of linear perspective helps convey the impression that the structure possesses a dome, or a photographic image whose properties emphasize its similarity to the object it represents. That an artwork’s verisimilitude can vary from that of a Peanuts comic strip frame to a frame of a documentary in 3D is a key question here, to reverse Smith’s remark that “the force of defamiliarization is, of course, variable, but that is another question” (134).
The process sees the viewer making inferences and formulating hypotheses by comparing the cues against the schemata—different kinds of knowledge relevant to the processing of cues. Carroll was the first critic of cognitivist orientation to offer a lasting commentary of pertinence to the application of Brecht to film. In Mystifying Movies (1988), he attacks Brecht for setting the ground for “SLAB” theory’s conflation of illusionism and representation (91). The former term is, he notes, inadequate to describe the effect on the spectator of a mimetic representation, as it—unlike visual illusions proper— does not rest on deceiving the recipient (93).