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- Eye of the Century: Film, Experience, Modernity.
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He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people's lives.
The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film's function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create?
- Eye of the Century?
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Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator's orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance.
Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle.
In this sense, film is the key to reading and understanding the modern experience. The Gaze of Its Age 2. We are talking about another edge of the same pedagogy, which notices that cinema existed before its own invention, below other forms, in the experience of one who contemplates and conceives the world in its constants of movement and fixity — matter and memory, this is to say that cinema was preceded by a vast repository of ideas and gestures, which would be later transfigured and praised. To be able to start again, it was therefore necessary to nourish from the legacy of other arts rather than from a decadent concept of cinematographic representation.
The deepest movement of cinema only arises between shots, leit motiv of Acto da Primavera, which is transmitted by Oliviera while opening the distant proximity between past and present, the ordinary and the fantastic, life and death.
A fertile sense of collage here resounds, when dispossessed of semantic vices and historical restrictions, since the work combines elements of different origins, overcoming the illusion of originality through a work that highlights the difference of what is apparently a repetition. In Acto da Primavera is an impurity projected to the future, time of conjugation of its end, bud of life, Godardian resurrection of the image through the remnants of the intractable archives a threatened future like that of the new born in Veredas or the couple of Mudar de Vida.
Francesco Casetti, Eye of the Century: Film, Ex – Cinémas – Érudit
What is, then, started with Acto da Primavera? Nothing that had not started already.
In this film, cinema is publicly celebrated, its discipline, its labour, the generosity of its intimate functioning when it is covered by an overflying morality; its inviting vocation as crucible of the most diverse materials. Hence, it congregates a myriad of inclinations and its spectators feel fortunate, almost destined.
The ascendency of Acto da Primavera by Manoel de Oliviera, in different generations of filmmakers, places the film in a privileged place in the history of Portuguese cinema. This influence, which transcends time and individual poetics, is here clarified with the notion of pedagogy —applied by the critic Serge Daney to the cases of Godard and Straub, and theoretically broadened later by the philosopher Gilles Deleuze- that followed the war trauma in the midth century and the consecutive deterioration of the idea of the cinematic classic.
However, Acto da Primavera, whose baseline is the registration of the annual representation of the Passion of Christ according to an auto from the 16th century, staged by the inhabitants of Curalha themselves, also teaches that cinema is rather related to the arts that precede it —a repository of forms, ideas, gestures and affects- than to any attempt of assimilation of a language or grammar. Cinemateca Portuguesa-Museu do Cinema.
Manoel de Oliveira. Cinemateca Portuguesa.
The influence of innovation
Desnudez Buenos Aires: Adriana Hidalgo editora. El poder. Curso sobre Foucault Buenos Aires: Cactus. Encontros, de Pierre-Marie Goulet. Trafic , P. Santiago de Compostela. Livros Horizonte. Dafne Editorial.ringtersmadisgo.tk
Eye of the Century: Film, Experience, Modernity
Conversations avec Manoel de Oliveira. O Museu da Imagem e do Som. Paulo Rocha. O Rio do Ouro.
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