Alexandre Astruc’s canonical essay, ‘The Birth of a New Avant-Garde: La Caméra -Stylo’ (), is considered a key precursor in the study of cinematic. Digital video and Alexandre Astruc’s. caméra-stylo: the new avant-garde in. documentary realized? Bjørn Sørenssen Norwegian University of Science and T . La caméra-stylo. Alexandre Astruc. “What interests ine in the cinema is abstraction.’ (Orson Welles). One casinot help noticing that something is happening in the.

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After having been successively a fairground attraction, an amusement analogous to boulevard theatre, or a means of preserving the images of an era, it is gradually alexxandre a language. The cinema of today is getting a new face. Harvard University Press,pp. This has zstruc to do with a school, or even a movement.

There is a similar methodology on display in the work of both philosophers: University of California Press,p. I will even go so far as to say that contemporary ideas and philosophies of life are such that only the cinema can do justice to them. In either case, we have a clear example of the way technics not only facilitates knowledge, but also allows for its extension and transformation.

To the extent that this notion of the camera-pen is a metaphor, Astruc can be seen to be making a very similar — in fact, interchangeable — argument with Bazin in his piece on Welles and Citizen Kane.

To this notion, Stiegler adds a discussion of the new time-based media of the 19th and 20th centuries the phonograph, cinemawhich not only duplicate the flux of consciousness but also — because of their mechanical reproducibility — have the ability to repeat it.

In other words, in order to suggest the passing of time, there is no need to show falling leaves and then apple trees in blossom; and in order to suggest that a hero wants to make love there are surely other ways of going about it than showing a saucepan of milk boiling over on to the stove, as Henri-Georges Clouzot does in Quai des Orfevres Jenny Lamour.


Introduction to “The Future of Cinema” by Alexandre Astruc

The link between Astruc and Truffaut can be taken further. The possibility of an individual response, the expression of a true individuality, becomes increasingly rare.

There are, and have always been, alternative practices of cinema, and these practices utilise the medium otherwise, pursuing a path that Stiegler does not seriously consider in Technics and Time. All thought, like all feeling, is a relationship between one human being and another human being or certain objects which form part of his universe.

Let us now have a look at the way people make concessions to the supposed but fallacious requirements of styllo cinema. And would Citizen Kane be satisfactory in any other form than that given to it by Orson Welles? He would return to his literary beginnings in the s, writing a series of novels even as he continued to develop film and television projects.

La Camera Stylo – Alexandre Astruc

It is an art that cannot live by looking back over the past … Already etylo is looking to the future; for the future, in the cinema as elsewhere, is the only thing that matters. Routledge,p. Stock, with the words: Already it is looking to the future, for the future, in the cinema as elsewhere, is the only thing that matters. By it I mean that the cinema will gradually break free from the tyranny of what is visual, from the image for its own sake, from the immediate and concrete demands of the narrative, to become a means of writing just as flexible and subtle as written language.

To state it plainly—and to correct the many manglings of this appearing in sty,o obituaries—Astruc was not the inventor of the auteur theory. Leroi-Gourhan’s thesis is that while the cortical system of the human brain has remained largely unchanged since the Neanderthal period, the human being has continued to evolve because of the stulo he develops with technics.

It also has an productive even creative function: The cinema of today is capable of expressing any kind of reality. Threads collapsed expanded unthreaded.


This is directly related to the fact that most filmgoers and television viewers have no access etylo equipment, and no ability to participate in these media except as spectators. This idea of the cinema expressing ideas is not perhaps a new one.

This dream took longer to materialize, and it subsequently manifested itself in diverse ways in the works of people scattered about the globe: In this seriesStiegler reflects on the encounter, or non-encounter, between philosophy and technology. It is exactly this contact, according to Astruc, that allows us to discuss cinema not asfruc in terms of art but also philosophy: The cinema cannot but develop.

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Caméra-stylo | film technique |

With this alexanre mind, and as a shylo homage to Astruc, let me end the same way he ended his piece 67 years ago: It is not just a coincidence that Renoir’s La Regle du JeuWelles’s films, and Bresson’s Les Dames du Bois de Boulogneall films which establish the foundations of a new future for the cinema, have escaped the attention of critics, who in any case were not capable of spotting them.

Astruc begins with a quote from Orson Welles: Malraux’s L’Espoirthe film which he directed from his own novel, in which, perhaps for the first time ever, film language is the exact equivalent of literary language.

What is different between the two processes is that, in traditional writing, the same instruments are used at each stage of composition; whereas film involves czmera instruments or tools, each of which has its own range of potentials, and its own way of influencing the course of action to be taken.