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International Conference on Philosophy and Film Eproceedings International Conference on Philosophy and Film Volume 1, 2014 eProceedings Edited by Susana Viegas and Maria Teresa Teixeira 1 eProceedings of the International Conference on Philosophy and Film Internet: https://internationalconferenceonphilosophyandfilm.wordpress.com/ Email: [email protected] Editors Susana Viegas (Universidade Nova de Lisboa/University of Dundee) Maria Teresa Teixeira (Universidade de Coimbra) Publisher International Conference on Philosophy and Film, Lisbon, November 2015 Conference Directors Christine Reeh, José Manuel Martins and Pedro Calafate Organizing Committee Claudio Rozzoni Carla Simões Filipa Afonso Filipe Pinto Filipa Seabra Isabel Machado Joana Ferreira Maria Teresa Teixeira Susana Viegas Toni Hildebrandt In 2014, the International Conference on Philosophy and Film was organized by the Centro de Filosofia da Universidade de Lisboa in collaboration with C.R.I.M. Productions and the Goethe-Institut Lissabon. International Conference on Philosophy and Film eProceedings Volume 1, 2014 Edited by Susana Viegas and Maria Teresa Teixeira CONTENTS FIGURES DU DEUIL. ROLAND BARTHES ET KRZYSZTOF KIESLOWSKI, Agnieszka Kaczmarek ............................................................................................................................................ 4 PHOTOGRAPHIC REALISM IN THE CINEMA OF TURKEY: REVIEW OF NURI BILGE CEYLAN’S FILMS, Ala Sivas Gulcur .................................................................................................17 F FOR FAKE AND THE PARTICULARITY OF NORMATIVE MORAL ASSESSMENT, Ana Falcato ..................................................................................................................................................30 THINKING TECHNOLOGY IN TIME: PROCESS-TIME AND PRODUCT-TIME IN TECHNOLOGICAL ANIME, Andreu Ballús and Alba G. Torrents.................................................44 ON FILM ANALYSIS AND REPRESENTATION: KRZYSZTOF KIEŚLOWSKI’S AMATEUR (AMATOR, 1979), Atenea Isabel González .........................................................................................54 EXPLORATION, INVENTION AND IMAGINATION: THE MYTH OF ICARUS IN ANDRÉ BAZIN, Blandine Joret ........................................................................................................................64 THE MOTION IMAGE AS THE LOCUM TENENS OF THE FILM. AN ONTOLOGICAL ENQUIRY ON THE ABSENCE OF THE NATURAL RULES, Bogdan Nita ....................................79 ACCESSING MODERN SELF THROUGH FILM, Carla Milani Damião ........................................95 “IMPOSSIBLE TO SEE AT HUMAN EYES”: FROM PHOTOGENY TO PYROTECHNICAL CINEMA, Daniela Angelucci ............................................................................................................ 108 TUNING OUR TIMING: TIME DISTORTIONS IN CINEMA AND EMOTIONS, Dina Mendonça ........................................................................................................................................... 117 TOWARDS AN OPTICAL TECHNOLOGY OF SELF: CONSCIOUSNESS, EMBODIMENT AND ECOLOGICAL MOVIEGOING, Giuseppe Gatti .............................................................................. 143 THE DECLINE OF HOLLYWOOD NARRATIVES: HOW THE INTERNET IS SHAPING THE CREATION AND APPRECIATION OF FILM, Laura T. Di Summa-Knoop ................................. 160 FILM AS AN IMPOSSIBLE PERSPECTIVE ON REALITY, Mark Perlman ................................ 174 CAN A FILM BE A RITUAL? ON THE POSSIBILITY OF REATUALISTIC CINEMA, Matthias De Groof.............................................................................................................................................. 186 ESSAY AS FILM: JULIO BRESSANE’S BRÁS CUBAS, Patrick Pessoa ....................................... 198 FILM-EDITING TECHNIQUES AND SPIRITUAL VIEWPOINTS OF REALITY, Ran Lahav .... 207 ARIRANG: FRAGMENTS OF FICTIONAL AUTOBIOGRAPHY, Roberto Lai .............................. 216 3 REFRAINS AND THE ‘CINEMATIC LISTENING’ OF THE SONGS IN THE MOVIE ONCE, Rodrigo Fonseca e Rodrigues............................................................................................................ 232 “A SEXTET FOR OVERLAPPING SOLOISTS” – POLYCHRONIC TEMPORALITIES IN TYKWER’S AND THE WACHOWSKIS’ CLOUD ATLAS, Sonia Front ........................................... 242 NARRATIVE IS NOT IN US; BUT IT IS WE WHO MOVE IN A BEING-NARRATIVE, A WORLD NARRATIVE, Steffen Hven .............................................................................................................. 260 LYRIC TIME AND LEE CHANG-DONG’S POETRY (2010), Steve Choe ....................................... 278 STANLEY CAVELL AND UKIYO-E : REDISCOVERING REALITY THROUGH THE CINEMA, Veronica Cibotaru ............................................................................................................................. 292 PINA 3D AND THE SENSIBLE POWER OF MOVIES, Vladimir Vieira ....................................... 302 4 FIGURES DU DEUIL. ROLAND BARTHES ET KRZYSZTOF KIESLOWSKI1 Dr Agnieszka Kaczmarek Adam Mickiewicz University, Poznan [email protected] La mort et l’agonie sont une question qui est depuis longtemps abordée dans les sciences humaines et dans la philosophie. Karl Jaspers considère l’acte de mourir comme une expérience des limites. Le monde humain n’est pas seulement un espace des grands, des valeureux et des éternels, il appartient aussi à ceux dont l’existence passe et se retrouve au seuil final qu’il faut traverser. Le caractère limitrophe de cette expérience inspire les cinéastes qui cherchent à apprivoiser ce phénomène irréductible et saisir son secret. En créant des images illusoires de la mort rendent plus proche sa réalité. L’objectif de cette intervention sera la confrontation de l’image du deuil qui accompagne l’expérience de la mort dans Bleu, Kieslowski et dans le Journal de deuil de Roland Barthes. Dans la représentation visuelle et linguistique il est question du monde intime du désespoir après la perte des personnes aimées. Cette expérience est vécue comme une exclusion. Dans les deux œuvres on retrouve les mêmes attitudes, la même sensibilité et mélancolie. Il s’agira dans mon texte de confronter l’expérience du deuil représentée par Barthes et par Kieslowski pour montrer comment les deux créateurs se confrontent avec la mort et le deuil à travers les paroles et les images. Krzysztof Kieslowski et Roland Barthes : apparemment ils n’ont rien de commun. Le premier est séduit par la France, par sa métaphysique du quotidien, vue de la perspective de l’Europe de l’Est ; l’autre est un des plus connus intellectuels français, professeur au Collège de France, orphelin de père ayant des rapports très particuliers avec sa mère. Qu’est-ce qui peut unir ces deux personnages : les prédilections intellectuelles, l’observation attentive de la vie, ou la passion, aujourd’hui tant réprimée, pour les cigarettes ? Or, il me semble qu’ils peuvent être unis par l’intérêt pour la mort et pour le deuil. La réflexion sur la mort et sur l’agonie tient une longue et riche tradition dans les sciences humaines. Les poètes, les artistes, les philosophes et les théologiens la pratiquent depuis l’origine des temps. Parmi les interprétations philosophiques il est à noter celle de Karl Jaspers qui 1 Cette article est une version corrigée et modifiée du texte qui a été publié en polonais : „Figury samotnej żałoby“ (Figures du deuil solitaire), Zeszyty Naukowe Centrum Badań im. Edyty Stein: Wobec samotności 12 (2014): 158-167. 5 reconnaît l’acte de mourir comme une expérience limite. L’univers humain n’est pas un espace des sujets intouchables, éternels, privés d’angoisse mais celui des êtres dont l’existence passe et se trouve au seuil inévitable de la mort qui est la fin inconditionnelle de chaque vie. Cette expérience-limite de chaque vie est source d’inspiration pour les cinéastes qui cherchent à l’apprivoiser, à percer son secret. En créant l’illusion de la mort ils rendent plus proche sa présence. L’intention de mon intervention est de confronter l’image du deuil et l’écriture du deuil qui accompagnent la mort dans Bleu de Kieslowski qui fait partie de sa trilogie Trois Couleurs et dans le Journal de deuil de Barthes. Dans ces deux cas du deuil, il est question du désespoir dû à la perte des personnes très proches, de l’état de l’exclusion et des images très différentes du travail du deuil. Dans Bleu et dans le Journal de deuil2 il s’agit de la représentation d’un autre rythme de la vie étroitement lié à la mélancolie de la perte. La figure classique du deuil Les recherches sur les réactions à l’égard de la mort et sur le deuil dans la culture semblent être une spécialité française. Philippe Ariès s’intéresse notamment au deuil et son absence dans la culture contemporaine, officielle et privée. La vie endolorie, c’est l’étymologie du mot français “deuil”, se confronte dans la vie publique à la désapprobation et au refoulement. Il ne faut pas pleurer les morts, au moins il ne faut pas montrer les larmes. La culture contemporaine a produit une rupture dans le rapport à la mort. Dans le passé il fallait pleureur les morts et il fallait s’isoler pour faire le deuil dans la paix et dans le retrait. Aujourd’hui on stigmatise ce repli, on critique l’expression et la manifestation de la douleur. Marquée par l’hédonisme, la culture contemporaine a rejeté l’expérience et l’observation de la souffrance d’autrui. Ariès le commente ainsi : 2 Roland Barthes, Journal de deuil (Paris : Seuil, 2009). 6 Après des siècles du devoir et de la nécessité du deuil,
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