4. the Art of Nature
4. The Art of Nature Grosoli, Marco, Eric Rohmer’s Film Theory (1948-1953). From ‘école Schérer’ to ‘Politique des auteurs’. Amsterdam: Amsterdam University Press, 2018 doi: 10.5117/978946298580/ch04 Abstract This chapter investigates the consequences of Rohmer’s conversion to Kant on the main tenets of his film theory. The concept of appearance for appearance’s sake, which was already of primary importance before his conversion, underwent substantial revision thanks to the influence of Kantian notions of beauty, of nature, and, specifically, natural beauty (as outlined in the Critique of Judgement). Particular attention has been devoted to the intricacies of Kant’s unity of nature, in that they string together three of Rohmer’s key assumptions, namely that cinema is essentially an art of movement, that by the same token it is a narrative art, and that by pushing mechanism to the extreme cinema can attain freedom. Keywords: Rohmer, Kant, appearance, nature, beauty, mechanism 4.1. To show and not to tell How did this conversion change Rohmer’s film criticism in actuality? How did it affect the école Schérer (éS) more generally? In order to attempt to answer these questions, it is probably best to start with what remained more or less the same. Ever since ‘Cinema, an Art of Space’, Rohmer repeatedly insisted that cinema is on the side of ontology, and not on that of language; his ‘return to Kant’ (from and against the twentieth-century phenomenological strand of Husserl, Heidegger, Sartre, etc.) was undertaken precisely in order to maintain this premise. By placing myself under the patronage of Kant from the very outset, I intended my approach to belong to the order of ontology, and not to that of language.
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