Roland Barthes' Cinema

Watts, Philip; Andrew, Dudley; Citton, Yves; Debaene, Vincent; Iorio, Sam Di

doi:10.1093/acprof:oso/9780190277543.001.0001

Cited by 17 publications

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“…not through argumentation, but through the staging of his own body." 26 As such, his writing represents "one of the very first attempts to resist what is now widely recognized as the overreaching, universalizing gestures of Paris School apparatus theory by opening up a space to reflect on desire and on the sensuous world of the film spectator." 27 If the critical ascendance of affective Author's draft.…”

Section: Entering the Movie Theatermentioning

confidence: 99%

Coming and Going: Nolot, Barthes, and the Porn Theater

O'Dwyer¹

2020

dis

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Let's be clear that a fantasy requires a setting (a scenario) and therefore a place.-Roland Barthes, How to Live Together Cinéma sans début ni fin ou le déroulement linéaire du scénario passe à la moulinette stroboscopique des allées et venues, des à-coups du plaisir.A cinema with neither beginning nor end; where linear narrative progression is put through the stroboscopic mincing machine of people's comings and goings, their fits of pleasure.-Guy Hocquenghem, Le Gay voyage Appearing in over eighty roles since his onscreen debut in 1973, Jacques Nolot occupies a longstanding but peculiarly peripheral position within France's cinematic landscape. His acting career came to light most prominently by way of his connection to queer director André Téchiné. Nolot acted in Techiné's La matiouette ou l'arrière-pays (1983) and Wild Reeds/Les roseaux sauvages (1994) and was both the scriptwriter and autofictional catalyst for Téchiné's 1991 film I Don't Kiss/J'embrasse pas. Nolot has also worked with lesser-known filmmakers such as Paul Vecchiali (Le café des Jules, 1989), another early and significant contributor to France's cinematic exploration of the AIDS crisis. Bridging the gap between these directors and the slightly later filmmakers who would come to be associated with the millennial zeitgeist of the French cinéma du corps, he would go on to appear in films by Claire Denis (I Can't Sleep/J'ai pas sommeil, 1994; Nénette et Boni, 1996) and François Ozon (Under the Sand/Sous le sable, 2002). While there has been relatively little scholarly attention dedicated to Nolot (either as an actor or filmmaker), the broad scope of his filmography is significant. 1 Not only does his career map lines of continuity between the otherwise distinct modes of filmmaking mentioned above, but his enduring presence on film might also play a vital role in resuscitating earlier moments in French queer cinema--particularly a figure such as Vecchiali, who continues to languish in the footnotes of cinematic history despite being the first French filmmaker to make an AIDS-related film from an explicitly gay perspective. 2

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Section: Entering the Movie Theatermentioning

confidence: 99%

Coming and Going: Nolot, Barthes, and the Porn Theater

O'Dwyer¹

2020

dis

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“…From the very first lines of Barthes' essay, the author introduces his idea of the 'power of cinema' as residing 'not in its capacity to hypnotize us or render us passive, but rather in its ability to transform the sensory experience of the world around us.' 23 This total experience does not stop at the end of the film, but 'lingers on beyond the end of the projection', offering the author 'a cure to his melancholia; it is a healing therapy, a guérissement.' 24 Cinema's potent effect lies in that 'twice-over fascination' with the image and its surroundings to which Barthes refers, and Italian audiences unwittingly express this through their memories.…”

Section: Validating Archival Data and Shedding Light On Unknown Pract...mentioning

confidence: 99%

“…23 This total experience does not stop at the end of the film, but 'lingers on beyond the end of the projection', offering the author 'a cure to his melancholia; it is a healing therapy, a guérissement.' 24 Cinema's potent effect lies in that 'twice-over fascination' with the image and its surroundings to which Barthes refers, and Italian audiences unwittingly express this through their memories. Analysis of the interviews conducted across the country shows how, for most of the audiences, 'the primary relationship with the "cinema" has not been with individual movies-as-artefacts or as texts, but with the social experience of cinema.'…”

Section: Validating Archival Data and Shedding Light On Unknown Pract...mentioning

confidence: 99%

Understanding the Cinemagoing Experience in Cultural Life

Gennari

2018

TMG

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The new cinema history approach asserts the importance of investigating the historical reception of films. In the past two decades, empirical research on film audiences has significantly developed methodologies and questions related to film and memory. Some of these studies concentrate on a period of time in which cinema was an essential leisure activity for millions, before the arrival of television, multiplexes, videos and home cinema. Combining ethnographic audience study with cultural and cinema history has allowed new insights into the historical reception of films and confirmed the vital role of oral history for a better understanding of cinema audiences. Italian Cinema Audiences (2013–2016) – an AHRC-funded inter-institutional research project – sits precisely within this new body of research and responds to the urge of using a bottom-up approach to shed new light on the cultural history of a country in a particular historical moment. This article will make use of the findings of the Italian Cinema Audiences research project to explore the role of oral history in the process of understanding cinemagoing as a cultural practice and to better comprehend how this type of research can enrich our understanding of the cinemagoing experience in particular and film cultures more broadly. It will also reflect on the process of remembering what I will define as ‘memories of pleasure’.

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“…Не будучи ярко выраженным марксистом, он, однако, не игнорировал остроты социальных процессов и противоречий в современном ему обществе и давал своё своеобразное и глубокое толкование явлениям социальной жизни, которые были свойственны западному обществу 1930-1950-х гг. прошлого столетия в целом и конкретно Франции и США [12]. Например, деконструкция «национального военного» языка Франции у Р. Барта синхронизируется с образом отставного солдата в рассказе другого представителя эпохи «потерянного поколения» -Ф.С.…”

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The Specificity of Socially Marked Lexis in E. Hemingway’s Work “The Old Man and the Sea”

Sirinova

2018

Bulletin of the MRSU

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АННОТАЦИЯ В статье выявлена и проанализирована социально маркированная лексика в одной из повестей Э. Хемингуэя. Методами дискурс-анализа, сопоставительного анализа, а также на основе принципов миропонимания структуралиста Р. Барта автор исследования впервые показывает, что в творчестве Э. Хемингуэя, принадлежащего к группе авторов «потерянного поколения», преобладают описание преодоления и деструкции социальных норм и ценностей, свойственных буржуазному миру, и замена их на ценности нового социума, где главное-личность человека. Полученные в ходе исследования знания и выводы позволяют формировать новое важное направление в исследовании современных текстов, дающее более валидные результаты их анализа.

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Roland Barthes' Cinema

Cited by 17 publications

References 0 publications

Coming and Going: Nolot, Barthes, and the Porn Theater

Coming and Going: Nolot, Barthes, and the Porn Theater

Understanding the Cinemagoing Experience in Cultural Life

The Specificity of Socially Marked Lexis in E. Hemingway’s Work “The Old Man and the Sea”

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