By Nenad Jovanovic
In Brechtian Cinemas, Nenad Jovanovic makes use of examples from decide upon significant filmmakers to delineate the diversity of the way within which Bertolt Brecht's notion of epic/dialectic theatre has been followed and deployed in foreign cinema. Jovanovic seriously engages Brecht's principles and their so much influential interpretations in movie experiences, from equipment conception within the Seventies to the shortly dominant cognitivist method. He then examines a wide physique of movies, together with Brecht's personal Mysteries of a Hairdressing Salon (1923) and Kuhle Wampe (1932), Jean-Marie Straub and Daniele Huillet's History Lessons (1972), Peter Watkins's La Commune (2000), and Lars von Trier's Nymphomaniac (2013). Jovanovic argues that the position of montage--a significant resource of creative estrangement (Verfremdung) in prior Brechtian films--has reduced a result of technique's conventionalization through present day Hollywood and comparable industries. working as basic brokers of Verfremdung in modern motion pictures encouraged by way of Brecht's view of the realm and the humanities, Jovanovic claims, are conventions borrowed from the most medium of his expression, theatre. Drawing upon an unlimited variety of resources and disciplines that come with cultural, movie, literature, and theatre experiences, Brechtian Cinemas demonstrates a persevered and large relevance of Brecht for the perform and realizing of cinema.
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Extra resources for Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier
22 Optical illusions, then, are defined by their persistence in spite of our cognitive correction of our faulty perception of them. 23 This impression can occur if we see from the right spot the fresco on the flat ceiling of the Church of St. Ignazio in Rome, where the painting’s use of linear perspective helps convey the impression that the structure possesses a dome, or a photographic image whose properties emphasize its similarity to the object it represents. That an artwork’s verisimilitude can vary from that of a Peanuts comic strip frame to a frame of a documentary in 3D is a key question here, to reverse Smith’s remark that “the force of defamiliarization is, of course, variable, but that is another question” (134).
This chapter pursues that question, approaching Brecht’s relationship to cinema from historical, aesthetic, and theoretical standpoints. indd 33 1/6/17 10:27 AM 34 Brechtian Cinema Brecht’s articles and journal entries show that he remained a frequent moviegoer throughout his life. We know that he saw such major German films of the silent period as Golem (Paul Wegener, 1920), Das Kabinett des Doktor Caligari (Cabinet of Doctor Caligari; Robert Wiene, 1920), and Die Abenteuer des Prinzen Achmed (The Adventures of Prince Ahmed; Lotte Reiniger, 1926).
The process sees the viewer making inferences and formulating hypotheses by comparing the cues against the schemata—different kinds of knowledge relevant to the processing of cues. Carroll was the first critic of cognitivist orientation to offer a lasting commentary of pertinence to the application of Brecht to film. In Mystifying Movies (1988), he attacks Brecht for setting the ground for “SLAB” theory’s conflation of illusionism and representation (91). The former term is, he notes, inadequate to describe the effect on the spectator of a mimetic representation, as it—unlike visual illusions proper— does not rest on deceiving the recipient (93).