Filozofska istraživanja, Vol. 40 No. 3, 2020.
Original scientific paper
https://doi.org/10.21464/fi40302
Rupturing the Spectacle: On Certain Paradoxes of Film Image
Adrian Pelc
; Universität Wien, Institut für Slawistik, Spitalgasse 2, Hof 3 (Campus), AT–1090 Wien
Abstract
In this paper, confronted are two radical currents of thought about the film image. In a first step, demonstrated is how some Marxist theorists (Beller, Debord, Baudrillard) define the film image as ontologically grounded in alienation and the destruction of non-mediated presence due to its technical origin, as well as its effects. In a second step, I try to show how André Bazin, influenced by phenomenology and taking up identical premises as the Marxists, came to diametrically opposite conclusions: it isn’t but the film image that discloses the real. Drawing on the work of Jacques Rancière, Jean-Luc Nancy and Giorgio Agamben, in a third step I establish a certain synthesis between these two currents and examine how spectacle is guarded, but also re-evaluated within the regime of film images. Through this re-evaluation, one gets a glimpse at the contours of an exigent aesthetic program that in some respects conforms to, while also deviating from eminent ideas on cinematic postmodernism.
Keywords
film image; alienation; Marxism; phenomenology; André Bazin; spectacle; film
Hrčak ID:
245111
URI
Publication date:
21.10.2020.
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