Places, non-places, spaces Keser-Battista, Ivana
Zbornik radova Akademije umetnosti,
2023, Letnik:
2023, Številka:
11
Journal Article
Recenzirano
Odprti dostop
This study aims to provide an insight into the typology of spatialization in public spaces. Non-places characterized by anonymity, and places, imbued with significance, coexist without static or ...fixed meanings, serving as spaces of negotiation. The study will explore their possible relations with external spaces, including crisis and deviant heterotopias, former workers' spaces as (non-)places of resistance, the evolution and adaptation of consumerist spaces, and public spaces as political arenas, where alternative spaces challenge the tendencies of globalization in an age of liberal atomism. Furthermore, the study will question the conceptualization and identity of geographical spaces such as Eastern Europe and the Balkans, examining cultural hegemony and Orientalism as imposed conceptual schemes that demand scrutiny. The representation of non-place in films and the tendency to negate place through travel will be explored, along with the consumerist logic of ephemeral shopping centers as alternative (non-)places of culture. These spaces act as sites of consumer tactics and strategies of resistance, countering the normativity of urban everyday life through micro-procedures of resistance, ultimately creating a public-political space of resistance. 8 The text is based on the essay Nemjesta (Non-Places) read on the Third Program of Croatian Radio in 2007.
Tjelesna uvjetovanost filma Keser Battista, Ivana
Filozofska istraživanja,
12/2015, Letnik:
35, Številka:
3/139
Journal Article
Recenzirano
Odprti dostop
The paper deals with the layered relationship between film and different modes of representing corporeality, i.e. its extremes: from allegorical representation to the emphasized absence of corporeal ...aspects. In the last thirty years film finds its foothold in specific cultural contexts, it deals with (bio)political body, the question of abjection, marginality, otherness, the question of identity. Emphasis on corporeality is found in reflexive film, which appears in 1980’s through different conceptions: as abjection film (A. Varda, M. Lee), marginality film, suburban film, as filmic writing (cinécriture), while recently through thematisation of the body it manifests in films of the new French corporeality (in directors such as J.-P. and L. Dardenne, B. Dumont, C. Denis). It is also recognised in films of excess (G. Noé) and aesthetics of appropriation (D. Jarman, M. Slabošpicki), as well as in films that deal with normativity (A. Kiarostami, H. Farocki). These directors are having direct or indirect dialogue with the contemporaries who thematise the body: Jean-Luc Nancy, Gilles Deleuze, Julia Kristeva, Michel Foucault, Giorgio Agamben, Hélène Cixous, Frantz Fanon, Jacques Derrida, Alain Badiou.
The goal of the study is to give an overview of the characteristics of modern and postmodern film from 1950 to present day. Modernist films are pronouncedly constructed, full of interruptions, and ...visible seams in the storytelling process; they consist of poetical charges, individual poetics, and sudden cuts; they are directed towards the exploration of feelings rather than towards the presentation of the story; they can be realistic, theatrical, and minimalistic in form. Postmodernist film, created in the 1970s, developed from modernistic strategies; focuses on generating a discourse; has a tendency towards mainstream (commercial); there are also the less noticeable (by the rule non-commercial), which continue the tradition of artistic film; has a stronghold in documentary film, essayism, significant questions of identity, Otherness, gender, race, class; always implying some kind of recapitulation or rapture with the past, with an ideology.
Esej: razmišljanje u fragmentima Keser Battista, Ivana
Filozofska istraživanja,
2013, Letnik:
33, Številka:
2/130
Journal Article
Recenzirano
Odprti dostop
This paper considers the notion and the phenomenon of essay in literature and film with the help of theoretical perspectives in literary-philosophical investigations by Theodor Adorno, György Lukács, ...Vilém Flusser, Gerhard Haas, Milivoj Solar, Roland Barthes and Réda Bensmaïa as well as perspectives in film studies by José Moure, Christa Blümlinger or Phillipe Lopate. Essay is marked by freedom and process and its main feature is fragment, preferring plurality over hierarchy, calling for contradiction over unconditional explicitness. Essays in literature and film are structured using fragments and that its every segment, in most cases, can function independently. Essayistic strategies present the work that becomes a place of instability, re-examination and revision of thoughts. Essay-films dissolve cinematic presentation boundaries and can absorb or incorporate different genres and themes through: biography, autobiography, history, culture, fiction, criticism, poetry, photography, illustration and film itself. The essay-film’s character is constitutively informal, and as such is not clearly defined in film studies. Namely, the essay-film often presents a meditation on a specific theme instead of the causal-effect sequence of a story as is expected in fictional film. Essay in general represents a process whose goal is exploration and not necessarily a rounded-off work with a single meaning and explicit statement. The constitutive informal character of the essay is manifested through the presence of the following elements which make essay discussable: associative presentation, dialogism, processuality, discursiveness, fragmentariness, non-linearity, reflexivity, reflection, rhizomatic treatment, rumination.
Filmski je esej uvjetovan spregom intertekstualnosti, intermedijalnosti i interdisciplinarnosti,
odnosno istraživanjem različitih umjetničkih disciplina, interdisciplinarnim
interakcijama s ...humanističkim znanostima, kao i susretima sa
znanstvenim disciplinama. Film transformira sve što citira, a filmski esej uvijek
teži ka metafilmu koji računa na upućenost gledatelja. Svojstvo je filmskog
eseja nestalnost forme i otvorenost k eksperimentu. Intertekstualnost se tako
najjednostavnije može definirati kao međusobnu povezanost dvaju ili više
tekstova, prvenstveno kao odnos prema književnim tekstovima u kojem se podrazumijeva
da je za razumijevanje jednoga djela ključno poznavanje drugog
djela. Ideja o intermedijalnosti pak proizlazi iz činjenice da mediji nisu u potpunosti
samosvojne cjeline nego da se uvijek sastoje od kompleksnih medijalnih
konfiguracija. Film po svojoj prirodi uvijek teži k ‘nečistim’ formama, odnosno
uvijek nalazi spregu s drugim umjetnostima, posebno s književnosti. U
filmskom se eseju stoga pod intermedijalnošću podrazumijeva ispostava materijala
i tema, u kojoj nije film taj koji se ponaša intermedijalno već njegov
materijal, pa se intermedijalnost događa na nivou naratologije i uvjetovana je
transmedijalnošću priče. Također, intermedijalnost bi se u slučaju filmskog
esejizma mogla nazvati svojevrsnom hermeneutikom filma, načinom analize a
ne samo opisa pojedinog djela. U filmu tako općenito razlikujemo vezu između
filma i drugih umjetnosti, kao i citate iz drugih filmova i citate iz drugih umjetnosti.
Primjena interdisciplinarnosti pak na neizravan način pretpostavlja
oblik dijaloga i interakciju između dviju ili više disciplina kao i denaturalizaciju
postojećeg znanja.
PDF
