Download PDF by Tara Forrest: Alexander Kluge: Raw Material for the Imagination (Amsterdam

By Tara Forrest

ISBN-10: 9089642722

ISBN-13: 9789089642721

Alexander Kluge is healthier often called a founding member of the hot German Cinema circulate, yet his paintings has spanned a couple of genres and media. This wide-ranging booklet assembles a various number of texts, from nonfiction writings and brief tales via Kluge, to serious essays through popular overseas students on Kluge’s paintings, to transcripts of interviews with the artist himself. A important assortment for college kids and students within the fields of movie, tv, and media reviews, Alexander Kluge: uncooked fabrics for the mind's eye is an ideal advent to Kluge’s key issues and ideas.

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Indeed, ­ argulies’s version so far as the production of subjectivities goes, M of realism repeats precisely the same division established by Heath. If the spectators of classic realism are, for Heath, unified, fixed, bourgeois and ideological, then those of an avant-garde cinema are potentially ‘material’, ‘heterogeneous’, ‘in process’, disruptive, fluid, fragmented and so on. indd 33 31/08/2010 09:36 34 The reality of film on. ). Again the terms can be mapped directly on to Heath’s call for subjects that are ‘in process’, and ‘heterogeneous’.

The icing on the cake is provided by the contention that time-image narratives are multiple and fractured – they convey multiple, diversifying narratives of national identity – while movement-image narratives are linear and unifying – they tell singular narratives of national identity. Much of what might have passed for political modernist discourse is therefore present here: movement-images offer illusions; time-images offer reality. The very same hierarchical scales of judgement are used, as was commonplace for political modernist critics.

To my mind, the misconception of Bazin boils down to one recurrent issue: representation. Bazin has been accused of one overarching fallacy: that cinema’s key characteristic is its capacity to represent reality. That is the claim I wish to counter: for Bazin, cinema does not represent reality, but cinema is, in one way or another, reality itself. This argument requires considerable unpacking. Therefore, my argument proceeds in three stages. First, I identify the key misconception accorded to Bazin – that films are defined by their capacity to represent reality.

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Alexander Kluge: Raw Material for the Imagination (Amsterdam University Press - Film Culture in Transition) by Tara Forrest


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