Quotes of quotes of quotes of quotes, 5/5

From Nicole Brenez’s “The Ultimate Journey” (which, by the way, is a must-read for anyone—er, anybody—who’s into this sort of stuff):

Modern theories of cinema in fact unceasingly return to “the simplest question: the body, how do you find it?” The great analyses of the last years have looked into the ways in which film presupposes, elaborates, gives or abstracts a body, not hesitating to pose again such primitive questions as what texture is it (flesh, marble, plaster, affect, doxa)? What is its framework (skeleton, semblance, becoming, a structure of formlessness [plastiques de l’informe])? What destroys it (the other, history, deforming its contours)? What kind of community does its gestures allow it to envision (people, collectivity [collection], alignment with the same)? To what regime of the visible has it submitted (apparition, extinction, haunting)? What is its story really (an adventure, a description, a panoply)? What creature is it at bottom (an organism, an effigy, a cadaver)? In sum, they have explored the ways in which a film invents a figurative logic.

[…] For me the invention of figural analysis for the cinema definitively began in 1979 with Godard’s mise-en-page for his issue 300 of Cahiers and, very precisely, with the montage that argued, “See how Krystyna Janda acts in a bad dream of what used to be October“. Such is the Bazinian exigency maintained in the heart of a type of non-Bazinian analysis that no longer takes the real as second nature or as the second nature of film and which, in every way, does not have the same conception of the real (rather Lacanian these days): to find the way the cinema discovers human experience (and this could be a door as unexpected as Cocteau’s mirror-pools, the anxious face of an actress in a tendentious film [film à thèse], the formless shot of a bus with which nothing can be done) and the way the cinema sets that experience forth naked, in its radical strangeness, in that which is unnameable in it.

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