Loading presentation...

Present Remotely

Send the link below via email or IM

Copy

Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.

DeleteCancel

Make your likes visible on Facebook?

Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.

No, thanks

The metacinematic gesture: A taxonomy of metacinema and an i

No description
by

Matteo Ciccognani

on 27 September 2016

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of The metacinematic gesture: A taxonomy of metacinema and an i

From the Greek prefix meta -meaning "after", or "beyond".
So, what is a metacinematic gesture?
There is a tension between on-screen and off-screen space (Branigan, 1975)
Visual citation - Reuse of previous cinematic patterns - Remake -
Inter-textuality .
REALIST Metacinema
The metacinematic gesture: A grid of intelligibility for metacinema and an introduction of its productionist side.
"Meta"
Epistemology: It is used to mean "About".
Self- reflexivity:
From the Latin reflexio/reflectere (“bend back on”)
Metafiction:
A term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact in order to pose questions about the relationship between fiction and reality (Waugh, 2013).

Russian Formalism: Shklovsky and the process of ostranenie (estrangement effect)....

The exposure of the linguistic artifice creates a moment of defamiliarization or denaturalization of the fictionalised content (Boym, 1996).
Diego Velazquez:

Las Meninas
, (1656
)
Photography remediated painting, film remediated stage production and photography.
Every medium remediates (or acquires) the linguistic elements and procedures of the previous ones (Bolter et al., 2000).
Pier Paolo Pasolini:
La Ricotta
, (Curd Cheese, 1962)
Rosso Fiorentino
, Deposition,
(1521)
François Truffaut:
The 400 Blows
(1959)
François Truffaut: Day for Night (1973)
What are you looking at?
The blind spot of
meta-representation

The
"look into the camera"...
...unveils our presence and the cinematic trick.
Luis Buñuel: Los Olvidados, (The Forgotten, 1950)
Shot- Reverse-shot
Miroslav Janek,
The Unseen
(1996)

A CLASSIFICATION OF METACINEMATIC GESTURES
REFERENTIAL Metacinema:
Sergio Corbucci,
Django
(1966)
Quentin Tarantino,
Reservoir Dogs,
(1992)
'The gesture is the exhibition of mediality: it is the process of making a means visible as such'
(Agamben,
Means without End: Notes on Politics
, 2000).
Theoretical and practical implications generated by the real or induced, presence of the camera (yet by its voluntary concealment).
Francis Ford Coppola,
Apocalypse Now
(1979)
Mockumentaries in Point of View Shot
:
Myrick and Sanchez Sanchez,
The Blair Witch Project
(1996)
Direct Cinema, Visual Anthropology, Fly on the Wall Effect:
Jean Rouch, Les Maîtres Fous (1955)
Double invisibility
(Foucault, 1966)
Shaded Zone
(Comolli, 2004
)
From Meta-painting

to Metacinema
SURREALIST Metacinema
Isolated dreamlike visual effects or free associations of metacinematic discourses -Avant-garde directors: René Clair, Marcel Duchamp - David Lynch's works.
'The duty of the director is to introduce into this
dream the element of awakening'. (Agamben 2000)
It is a kind of "dreamlike wake-up call"
Ingmar Bergman, Persona (1966)
Is the look into the camera...
.... halfway from realist and surrealist metacinema?
Jean-Luc Godard, Vivre sa Vie (1962)
PRODUCTIONIST Metacinema
It reveals and constructs a new authorial and directorial subjectivity through the exposure of filmmaking as a process, or a work in progress.
Chronicle of a Summer
- (Morin and Rouch, 1961),

Contempt -
(Godard, 1963),

Curd Cheese
– Ro.Go.Pa.G (Pasolini, 1963),

Day for Night
- (Truffaut, 1973),

F for Fake -
Welles 1973),

Burden of Dreams
- Les Blank, 1982),

Voyage in Time
- Tarkovskij, Guerra, 1983),

Histoire (s) du Cinema
- (Godard, 1988),
Close-Up -
(Kiarostami, 1990),

My Best Fiend -
(Herzog, 1999),

Grizzly Man
- (Herzog, 2005),

The Five Obstructions -

(Von Trier, Leth, 2003),

Tarnation
- (Caouette, 2003),

The Unmaking of
- O cómo no se hizo
(Juan Manuel Chumilla Carbajosa, 2010),

The Act of Killing
(Oppenheimer, 2012),

The Wolfpack
(Moselle, 2015).
Productionist Metafilms
Full transcript