Notes on Alain Badiou and the cinema
This article reviews some of Alain Badiou’s main ideas about cinema, collected from different texts through his work. The writing is organized in twelve sections: 1) cinema is a new art that was born in the 20th century; 2) cinema is a mass art; 3) cinema is an ontological art; 4) the cinema makes t...
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| Format: | Online |
| Language: | spa |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2021
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| Online Access: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/34196 |
| _version_ | 1811172861077880832 |
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| author | Laso, Eduardo |
| author_facet | Laso, Eduardo |
| author_sort | Laso, Eduardo |
| collection | Portal de Revistas |
| description | This article reviews some of Alain Badiou’s main ideas about cinema, collected from different texts through his work. The writing is organized in twelve sections: 1) cinema is a new art that was born in the 20th century; 2) cinema is a mass art; 3) cinema is an ontological art; 4) the cinema makes time visible; 5) cinema as the most-one of the other arts; 6) cinema is an impure art; 7) each film is a singular real object, which exposes the passage of an idea according to the shot and the montage; 8) the art of cinema as a visitation of an idea; 9) cinema as an ethical setting; 10) the three ways of talking about a film; 11) a film is a point-subject of an artistic configuration; 12) from tragic cinema to cinema as a moving image of eternity. These ideas are presented in conjunction with various films: The Birth of a Nation (Griffith, 1915), Pasaron las grullas (Kalatozov, 1957), Last Year at Marienbad (Renais, 1961), Death in Venice (Visconti, 1971) , False Movement (Wenders, 1975), Stalker (Tarkovski, 1979), Barton Fink (Coen and Coen, 1991), 2001: A Space Odyssey (Kubrick, 2001), Joker (Phillips, 2019) and Nomadland (Zhao, 2020). |
| format | Online |
| id | oai:ojs.revistas.unc.edu.ar:article-34196 |
| institution | Universidad Nacional de Cordoba |
| language | spa |
| publishDate | 2021 |
| publisher | Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| record_format | ojs |
| spelling | oai:ojs.revistas.unc.edu.ar:article-341962021-07-26T23:45:11Z Notes on Alain Badiou and the cinema Apuntes sobre Alain Badiou y el cine Laso, Eduardo Alain Badiou Cinema Philosophy Alain Badiou Cine Filosofía This article reviews some of Alain Badiou’s main ideas about cinema, collected from different texts through his work. The writing is organized in twelve sections: 1) cinema is a new art that was born in the 20th century; 2) cinema is a mass art; 3) cinema is an ontological art; 4) the cinema makes time visible; 5) cinema as the most-one of the other arts; 6) cinema is an impure art; 7) each film is a singular real object, which exposes the passage of an idea according to the shot and the montage; 8) the art of cinema as a visitation of an idea; 9) cinema as an ethical setting; 10) the three ways of talking about a film; 11) a film is a point-subject of an artistic configuration; 12) from tragic cinema to cinema as a moving image of eternity. These ideas are presented in conjunction with various films: The Birth of a Nation (Griffith, 1915), Pasaron las grullas (Kalatozov, 1957), Last Year at Marienbad (Renais, 1961), Death in Venice (Visconti, 1971) , False Movement (Wenders, 1975), Stalker (Tarkovski, 1979), Barton Fink (Coen and Coen, 1991), 2001: A Space Odyssey (Kubrick, 2001), Joker (Phillips, 2019) and Nomadland (Zhao, 2020). El presente artículo recorre algunas ideas principales de Alain Badiou en torno al cine, recogidas de diferentes textos a lo largo de su obra. Se propone entonces un recorrido por doce apartados: 1) el cine es un nuevo arte que nace en el siglo XX; 2) el cine es un arte de masas; 3) el cine es un arte ontológico; 4) el cine vuelve visible el tiempo; 5) el cine como el más-uno de las demás artes; 6) el cine es un arte impuro; 7) cada film es un objeto real singular, que expone el pasaje de una idea según la toma y el montaje; 8) el arte del cine como visitación de una idea; 9) el cine como escenario ético; 10) las tres maneras de hablar de un film; 11) un film es un punto-sujeto de una configuración artística; 12) del cine trágico al cine como imagen móvil de la eternidad. Estas ideas se presentan en articulación con diversas piezas cinematográficas: El nacimiento de una nación (Griffith, 1915), Pasaron las grullas (Kalatozov, 1957), El año pasado en Marienbad (Renais, 1961), Muerte en venecia (Visconti, 1971), El movimiento falso (Wenders, 1975), Stalker (Tarkovski, 1979), Barton Fink (Coen y Coen, 1991), Odisea en el espacio (Kubrick, 2001), Joker (Phillips, 2019) y Nomadland (Zhao, 2020). Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2021-07-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/34196 10.31056/2250.5415.v11.n2.34196 Ética y Cine Journal; Vol. 11 Núm. 2 (2021): Cine y Filosofía; 101-109 2250-5415 2250-5660 10.31056/2250.5415.v11.n2 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/34196/34643 https://creativecommons.org/licenses/by-sa/4.0/ |
| spellingShingle | Alain Badiou Cinema Philosophy Alain Badiou Cine Filosofía Laso, Eduardo Notes on Alain Badiou and the cinema |
| title | Notes on Alain Badiou and the cinema |
| title_alt | Apuntes sobre Alain Badiou y el cine |
| title_full | Notes on Alain Badiou and the cinema |
| title_fullStr | Notes on Alain Badiou and the cinema |
| title_full_unstemmed | Notes on Alain Badiou and the cinema |
| title_short | Notes on Alain Badiou and the cinema |
| title_sort | notes on alain badiou and the cinema |
| topic | Alain Badiou Cinema Philosophy Alain Badiou Cine Filosofía |
| topic_facet | Alain Badiou Cinema Philosophy Alain Badiou Cine Filosofía |
| url | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/34196 |
| work_keys_str_mv | AT lasoeduardo notesonalainbadiouandthecinema AT lasoeduardo apuntessobrealainbadiouyelcine |