Download PDF by Alain Badiou: Cinema

By Alain Badiou

ISBN-10: 0745655688

ISBN-13: 9780745655680

For Alain Badiou, motion pictures imagine, and it's the activity of the thinker to transcribe that considering. what's the topic to which the movie offers expressive shape? this can be the query that lies on the center of Badiou’s account of cinema.

He contends that cinema is an paintings shape that bears witness to the opposite and renders human presence seen, therefore attesting to the common price of human life and human freedom. in the course of the event of viewing, the move of inspiration that constitutes the movie is handed directly to the viewer, who thereby encounters a side of the area and its exaltation and energy in addition to its trouble and complexity. Cinema is an impure paintings cannibalizing its occasions, the opposite arts, and other people – an immense paintings accurately since it is the locus of the indiscernibility among paintings and non-art. it's this, argues Badiou, that makes cinema the social and political artwork par excellence, the easiest indicator of our civilization, within the method that Greek tragedy, the coming-of-age novel and the operetta have been of their respective eras.

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The first act, which covers Hughes’s early career in Hollywood, was supposed to have Technicolor’s two-color look. With the second act, which begins after Hughes sets a speed record flying across the continental United States [in 1937] and goes with Katharine Hepburn to Connecticut, we transition to that vibrant, three-strip look that most of us associate with the glorious Technicolor years. Then, when Hughes almost dies crashing the XF-11, we were going to cut into a more contemporary look without either Technicolor process applied.

Also, this brief overview of the introduction of digital technology in film audio shows quite clearly that, at this point, everyday practice deals with a hybrid technology where analog and digital tools coexist at every step of the production chain, from production to exhibition. The situation is similar with respect to film restoration practice. 35 Film audio, indeed, is a field that has been significantly less addressed than other aspects of film, in particular the image. And this remains true also with regard to the transition to digital.

Whereas the elements composing a digital image, the pixels, are identical and their number is pre-defined, the elements in a photochemical image, the grains, vary in size and number. Still, a digital representational system with a sufficient number of pixels could reproduce in appearance even the grain of a photochemical image. indd 49 2-7-09 14:02 and digital appears once again too complex to be approached as an opposition between two technologies, the analog/grain vs. the digital/pixel. The fact that more and more films are made through the d i g i t a l i n t e r m e d i a t e ( d i ) process, as discussed above, suggests to some that the days of (acetate and polyester) film are numbered.

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Cinema by Alain Badiou

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