THEORIES OF THE CINEMATIC EVENT
This PhD research propose a textual reconstruction and a mapping of the theme of the event within the field of film theory, while also highlighting its dead ends and limitations. Just as the notion of the figural, born from a reflection on painted images, was transposed to cinema by C. Metz from a Freudian perspective, it is important to understand the event as a concept with phenomenological roots singularized in contemporary cinema theory, as an aesthetic experience unique to the medium and felt as a generalized upheaval of aesthetic categories and reception.
The development of the aesthetic modalities of this event has been gradual, and a few fundamental traits emerge: the notion of purity, reversal, and singularity. It involves a function that is both hermeneutic and ontological: the cinematic event, in the radicality of its experience, would offer the possibility of a vision of the Unveiled Real (the Real of an era, of a century, of human nature).
This historiography aims to show how event-related perceptions have served as a refuge for a certain glorious conception of the image; it will attempt to sketch new perspectives for this tradition, embracing more fully the materiality of the medium at a time when the image leaves the dark room to join the white gallery of the museum.
| Ecole Doctorale Langues, Lettres et Arts | |
| LESA - Laboratoire d'Etudes et Sciences des Arts, Cambridge University, Centre de recherches sur les arts et le langage (CRAL) |