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,...
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Centre d´Histoire et Théorie des Arts
2021
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oai:doaj.org-article:b48e865382b744f982388c17ac6bc28e2021-12-02T09:54:20ZLes formes dissensuelles de l’expérience esthétique documentaire1778-380110.4000/imagesrevues.10168https://doaj.org/article/b48e865382b744f982388c17ac6bc28e2021-10-01T00:00:00Zhttp://journals.openedition.org/imagesrevues/10168https://doaj.org/toc/1778-3801Non-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.Gabriel MatteïCentre d´Histoire et Théorie des ArtsarticleprecariousnessWang BingimmanencedurationgazeopacityFine ArtsNFRImages Re-Vues, Vol 18 (2021) |
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precariousness Wang Bing immanence duration gaze opacity Fine Arts N |
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precariousness Wang Bing immanence duration gaze opacity Fine Arts N Gabriel Matteï Les formes dissensuelles de l’expérience esthétique documentaire |
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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. |
| format |
article |
| author |
Gabriel Matteï |
| author_facet |
Gabriel Matteï |
| author_sort |
Gabriel Matteï |
| title |
Les formes dissensuelles de l’expérience esthétique documentaire |
| title_short |
Les formes dissensuelles de l’expérience esthétique documentaire |
| title_full |
Les formes dissensuelles de l’expérience esthétique documentaire |
| title_fullStr |
Les formes dissensuelles de l’expérience esthétique documentaire |
| title_full_unstemmed |
Les formes dissensuelles de l’expérience esthétique documentaire |
| title_sort |
les formes dissensuelles de l’expérience esthétique documentaire |
| publisher |
Centre d´Histoire et Théorie des Arts |
| publishDate |
2021 |
| url |
https://doaj.org/article/b48e865382b744f982388c17ac6bc28e |
| work_keys_str_mv |
AT gabrielmattei lesformesdissensuellesdelexperienceesthetiquedocumentaire |
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