Les formes dissensuelles de l’expérience esthétique documentaire
Non-fiction filmmaking is generally expected, because of its indexical nature, to convey “information” or “messages” about the state of the world. From this idea result “ethical” considerations according to which any formal ambition, in particular with regard to the representation of precariousness,...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | article |
| Lenguaje: | FR |
| Publicado: |
Centre d´Histoire et Théorie des Arts
2021
|
| Materias: | |
| Acceso en línea: | https://doaj.org/article/b48e865382b744f982388c17ac6bc28e |
| Etiquetas: |
Agregar Etiqueta
Sin Etiquetas, Sea el primero en etiquetar este registro!
|
| Sumario: | Non-fiction filmmaking is generally expected, because of its indexical nature, to convey “information” or “messages” about the state of the world. From this idea result “ethical” considerations according to which any formal ambition, in particular with regard to the representation of precariousness, would lead to an inappropriate “aestheticization” concealing the social foundations of reality. On the contrary, through the study of Wang Bing’s films, and in the light of the notion of “dissensual form” proposed by Jacques Rancière, this article endeavors to show how the political quality of art does not lie in an opposition to its “aestheticization”, but in its sensory ways of distributing bodies, spaces and times, competence and incompetence to contribute to the common. |
|---|