ORCID Profile
0000-0001-5213-2484
Current Organisation
University of South Australia
Does something not look right? The information on this page has been harvested from data sources that may not be up to date. We continue to work with information providers to improve coverage and quality. To report an issue, use the Feedback Form.
Publisher: Informa UK Limited
Date: 20-06-2018
Publisher: Edinburgh University Press
Date: 02-2023
Abstract: This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum ( 35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded into the rhythmic structure, affective organisation and form of Denis' film. Contextualising Bachelard's later thinking in relation to Eugène Minkowski, I maintain that Denis' objects reverberate (both formally and sensuously). In 35 Shots of Rum, Denis' poetic objects and her evocation of different in-between states parallels Bachelard's own materialist thinking on the imagination, reverie and repose.
Publisher: University College Cork
Date: 15-07-2022
DOI: 10.33178/ALPHA.23.00
Publisher: Edinburgh University Press
Date: 11-2020
Abstract: Gaston Bachelard distinguishes the radical novelty and newness of the imagination from pre-existing sensory impressions (memory, perception). In this article, I explore Bachelard's connections between time, the imagined image and poetic form, and I consider their implications for the cinema. Concentrating my analysis on Ildikó Enyedi's Testről és lélekről/ On Body and Soul (2017) — a film that alternates between doubled worlds, depictions of human and animal life — I draw out the temporality and the ersity of Bachelard's imagined images. Bringing Bachelard's instant, vertical time and the crystalline to bear on Enyedi's film, I argue that, under the pretext of sleep, rest and dreaming, On Body and Soul engages the temporality and attentiveness of the Bachelardian imagination, together with its poetic effects.
Publisher: University College Cork
Date: 15-07-2022
DOI: 10.33178/ALPHA.23.02
Abstract: In this article, I examine how Maya Deren and Marie Menken’s mid-1940s filmmaking enacts a gestural aesthetic. Drawing on Vilém Flusser’s thinking on gesture (his discussion of “moving tools” and the thoughtfulness of hands), I draw attention to the importance of hands in Deren and Menken’s work. In Visual Variations on Noguchi (1945), Menken employs a handheld Bolex camera to explore the different material properties of art objects. Through her sweeping camerawork, film editing and sound, she transforms Noguchi’s art into new, cinematically stuttering, borderline abstract compositions. In At Land (1944), Deren’s unnamed protagonist (played by Deren herself) is filmed reaching, touching, clasping and grasping her way through a highly mutable world. In Deren’s re-working of the mythic quest narrative, hands function as a gestural, thoughtful means of adaptation. Hands also provide Deren with a manual means of manipulating “film form”, of manually piecing together different surfaces, shots and scenes. In Visual Variations on Noguchi and in At Land, both artist-filmmakers use their “moving tools” to transform human gesture. Through their foregrounding of the hands (onscreen and offscreen), Deren and Menken enact a desubjectified, gestural cinema.
No related grants have been discovered for Saige Walton.