Screening organized as part of the international symposium Cinématérialismes / Nouvelles approches matérialistes de l’audiovisuel : Cinéma, médias, arts numériques, organized by Fanny Cardin, Garance Fromont, C.E. Harris, Charlie Hewison, Rémi Lauvin, Anastasia Rostan and Barnabé Sauvage (Université Paris Cité, CERILAC / LARCA, Groupe de recherche doctoral GERMAINE), which will take place in Paris from October 20 to 22, 2022.
What is a materialist cinema?
The idea of materialist film has often been understood in two different, even opposing, ways. On the one hand, it refers to historical materialisms inherited from Marxism (Soviet cinemas of the 1920s-30s, militant films of the 1970s, etc.) and on the other to practices focusing on the exploration of medium specificity, attached to the technical and concrete characteristics of the image and sound.
These two materialisms, which have constituted the two most creative cornerstones of avant-garde film, attracted filmmakers with radically antagonistic practices for most of the 20th century. The former quickly accused the latter of formalism, while the latter pointed to the continued use of traditional conventions of representation in the films of the former as evidence of a lack of political radicalism. The 1970s saw a short-lived reconciliation between these two positions, during which filmmakers and critics agreed on an ideological and material understanding of cinema, which crystallized in the notion of the dispositif, or apparatus.
After a long period of backlash, characterized by a political melancholy in filmmakers and the depoliticization of theoretical practice, critics seem to have once again begun to examine the relations between these two conceptions of materialism. Technical practices of cinema are thus interrogated as social practices, and vice-versa, through analysis of the technical determinism of these practices.
The carte blanche given to Light Cone is in line with this contemporary re-evaluation of the notion of cinematic materialism. It aims to give an account - via almost 100 years of cinema (the oldest film in the programme dates back to 1926) - of the diverse reflections on the materiality of the filmic medium and that of vision, of the material conditions of analogue or digital film creation, whether it be individual or collective, in short, of everything that transforms an abstract image into an embodied practice of the present.
by Guido SEEBER
1925 / 16mm / b&w / silent / 6' 00
by Guy SHERWIN
1979 / 16mm / b&w / sound / 2' 00
POINTS OF VIEW
by Nana SWICZINSKY
1999 / 35mm / b&w / sound / 6' 00
BLACK TRIP #2
by Aldo TAMBELLINI
1967 / 16mm / b&w / sound / 3' 00
SMALL THINGS MOVING IN UNISON
by Vicky SMITH
2018 / 16mm / color-b&w / sound / 5' 00
SONG OF THE MUSHROOM
by Stan BRAKHAGE & Joel HAERTLING
2002 / 16mm / color / silent / 2' 00
VARIATIONS ON A CELLOPHANE WRAPPER
by David RIMMER
1970 / 16mm / color / sound / 8' 00
by Kengné TÉGUIA
2015 / DCP / color / sound / 3' 11
by Cécile FONTAINE
1984 / 16mm / color / sound / 3' 00
by Lis RHODES
1996 / DCP / b&w / sound / 15' 00
AN ARTIST'S IMPRESSION
by Hito STEYERL
2007 / DCP / color / sound / 21' 00
Luminor Hôtel de Ville
20 rue du Temple
|metro||Hôtel de Ville (lines 1 & 11) / Châtelet (lines 1, 4, 7, 11 & 14) / Les Halles (RER A, B & D)|
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Cinématérialismes / Nouvelles approches matérialistes de l’audiovisuel : Cinéma, médias, arts numériques
full rate: 11.00 €
reduced rate: 8.50 €
under 26 years old: 7.00 €
card Luminor 5 screenings: 29.00 €
card Luminor 10 screenings: 52.00 €
cards accepted: CIP, UGC Illimité, CinéPass, CICAE, CNC, Europa Cinéma, SACEM, Presse, carte permanente Luminor