Que reste-t-il du cinéma?
Author: Aumont, Jacques
Source: Rivista di estetica, Volume 51, Number 46, March 2011 , pp. 17-31(15)
Publisher: Rosenberg & Sellier
Abstract:This text proposes an evaluation of what remains of cinema in the age of the digital, and of an ever increased circulation between movie theatres and museums. Much has changed in the social and aesthetic status of cinema, at least since the appearance of video art; but cinema, in general, has not disappeared, quite to the contrary, and re- mains a very important social practice. Two important factors, however, have undergone deep changes: 1°, film no longer has the exclusivity of the moving image, which it has to share with television and contemporary art; 2°, the recent hegemony of the digital image has driven film toward a massive return to the “Méliès path” of film art, that of a direct intervention on the film image. The contention here is that, though the art of film is obviously not what it was, it has kept a number of qualities which still make it the positive reference for any thinking of the moving image in general. The article puts forward three kinds of reasons to support this argument: 1°, cinema has invented a specific way to see moving images, resting on what is termed here the production of a gaze; 2°, time is essential to the film form itself; 3°, film is the only art which has developed an aesthetic of the encounter (with the real) – and the co-presence of these three ranges of value remain absolutely specific.
Document Type: Research Article
Publication date: 2011-03-01
- Rivista di Estetica publishes thematic issues about philosophical topics. It is one of the oldest philosophical journals in Italy, established in 1960 as a quarterly journal about aesthetics and more general philosophical themes. Rivista di Estetica practices double blind refereeing and publishes both in Italian and English.
- Editorial Board
- Purchase Print Subscription
- ingentaconnect is not responsible for the content or availability of external websites