By Nenad Jovanovic
In Brechtian Cinemas, Nenad Jovanovic makes use of examples from decide on significant filmmakers to delineate the range of how during which Bertolt Brecht's idea of epic/dialectic theatre has been followed and deployed in foreign cinema. Jovanovic severely engages Brecht's rules and their so much influential interpretations in movie stories, from gear concept within the Nineteen Seventies to the shortly dominant cognitivist strategy. He then examines a vast physique of movies, together with Brecht's personal Mysteries of a Hairdressing Salon (1923) and Kuhle Wampe (1932), Jean-Marie Straub and Daniele Huillet's History Lessons (1972), Peter Watkins's La Commune (2000), and Lars von Trier's Nymphomaniac (2013). Jovanovic argues that the function of montage--a imperative resource of creative estrangement (Verfremdung) in previous Brechtian films--has decreased as a result of technique's conventionalization by way of ultra-modern Hollywood and comparable industries. working as fundamental brokers of Verfremdung in modern motion pictures encouraged by means of Brecht's view of the area and the humanities, Jovanovic claims, are conventions borrowed from the most medium of his expression, theatre. Drawing upon an unlimited variety of assets and disciplines that come with cultural, movie, literature, and theatre experiences, Brechtian Cinemas demonstrates a persisted and vast relevance of Brecht for the perform and figuring out of cinema.
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In Brechtian Cinemas, Nenad Jovanovic makes use of examples from opt for significant filmmakers to delineate the range of the way within which Bertolt Brecht's suggestion of epic/dialectic theatre has been followed and deployed in overseas cinema. Jovanovic seriously engages Brecht's principles and their such a lot influential interpretations in movie experiences, from equipment concept within the Nineteen Seventies to the almost immediately dominant cognitivist process.
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Extra info for Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier
Notwithstanding the youthful bravado of his prose, Polan’s article thus cuts the Gordian knot: it dismisses the problems identified by apparatus theorists as irrelevant by ignoring some of their crucial postulates. The cybernetic revolution of the 1980s spurred the ascent of cognitive science,21 and a band of film scholars—perhaps most notably David Bordwell and Nöel Carroll—soon rode the tide of the new discipline. The proliferation of computer technologies during the period was not the sole reason that the word “revolution” was less and less associated with politics: the economic downfall and the suppression of democratizing currents in communist Europe now seemed irreversible; Jerry Rubin had completed his transition from a hippie into a yuppie; and Francis Fukuyama was about to proclaim the free market as the ultimate point of humanity’s development.
The reasons against that move have been explained. Despite the authority of Murray Smith’s deprecating assessment of Brecht’s legacy in cinema, the concepts of epic/dialectic theater continue to inspire film practitioners. Before looking at some examples in detail, Brecht’s own practical and theoretical dealings with the medium need to be examined. indd 32 1/6/17 10:29 AM 2 Brecht the Filmmaker The “Great Method” Adjusted A priori l’oeuvre de Brecht n’a pas affaire avec le cinema. Je dirais plus: elle repousse, elle refuse violement le cinema.
The Marxist aspect of the reform of cinema that he calls for further manifests itself through the resonance between the eleventh of Marx’s “Theses on Feuerbach” (“the point is to change the world”) (qtd. in Heath 110) and an argument from the article’s final segment, that “the real work is the attempt at a ceaseless transformation [of cinema]” (126). indd 26 1/6/17 10:28 AM Introduction 27 of reflexivity and deconstruction: Bugs Bunny and Daffy Duck cartoons in which the characters address the camera and comment on the act of filmmaking.