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Painting/Cinema: A Study on Saturated Phenomena

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If from the 1920s to the 1940s, it was individual films, taken more or less out of context, which typified the German cinema, at least for an international public, the inverse was the case some thirty years later: at first the Young German Film, then the New German Cinema made headlines as national film movements, where a generational or film-political identity imposed themselves more strikingly than individual film titles. As has also been the case with other European film movements (neo-realism, or the nouvelle vague), such identity quickly dissolves, to leave in its wake a number of star personalities. | Film-Philosophy 12.2 September 2008 Painting Cinema A Study on Saturated Phenomena. Review Alain Bonfand 2007 Le cinéma saturé Essai sur les relations de la peinture et des images en mouvement. Paris coll. Epiméthée PUF ISbN 2130557910 247pp. Julien Guillemet University of Paris III Sorbonne Nouvelle France Alain Bonfand s new book Le cinéma saturé. Essai sur les relations de la peinture et des images en mouvement revives the discussion between painting and cinema in French research in Film Studies while putting it on a phenomenological ground. The pertinence of the book stems from two major concepts 1 The rejection of any literal pictorial citation. While painting is not a simple key for interpreting cinema the comparison of the two should reveal their respective phenomenological singularity. This position explains the improbable and risky links Bonfand draws between a director and a painter in the four case studies of the first part of his book Lewin and De Chirico Hitchcock and Hopper Ozu and Mondrian Ford and Clyfford Still. 2 The concept of saturation which he borrows from the French philosopher Jean-Luc Marion. Nevertheless Bonfand pushes the notion further in cinema the saturated 131 Guillemet Julien 2008 Review Alain Bonfand 2007 Le cinéma saturé Essai sur les relations de la peinture et des images en mouvemen . Film-Philosophy vol. 12 no. 2 pp. 131-141. http www.film-philosophy.com 2008v12n2 guillemet.pdf . ISSN 1466-4615 online Film-Philosophy 12.2 September 2008 phenomenon becomes something which is impossible to film something which exceeds the frame of its representation within the medium. He particularly demonstrates this point in the two chapters on the sublime in Antonini s cinema before operating a turnaround showing that cinema at its limit rediscovers the essence of painting acheiropoietos images in Godard s cinema icons for Tarkovski. Dense erudite and sometimes even esoteric Bonfand s book is written for the scholar rather than a more general .

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