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Installations Cited
Chantal Akerman
Women of Antwerp in November (Femmes d’Anvers en novembre, 2008) Videoinstallation with two projections: Landscape, QuickTime file, HD projection.Silent, B&W, 20 min.
To Walk Next to One’s Shoelaces in an Empty Fridge (Marcher à côté de seslacets dans un Frigidaire vide, 2004). Video installation, two parts. First part:Tulle construction with two video projections. Second part: Double-imagevideo projection on wall and a single-image video projection on tulle. 16/9screen, B&W, 24 mins. Exhibited at Marian Goodman Gallery, 2004, Tel AvivMuseum of Art, July 2006, Camden Arts Centre, 2008.
From the East/The Installation: Bordering on Fiction (D’Est: Au bord de la fiction,1995) Video installation in two parts (24 + 1 monitors) based on the filmD’Est (1993). Editor: Claire Atherton. Last exhibited at Tel Aviv Museum ofArt, July 2006.
A Voice in the Desert (Une voix dans le désert) and From the Other Side (2002)Single-screen projection. Colour: 52:19 mins. Conceived for the Documentafilm and experimental art festival, Kassel. Editor: Claire Atherton. Lastexhibited at Tel Aviv Museum of Art, July 2006.
Janet Cardiff
Cardiff, Janet and George Bures Miller, Paradise Institute (2001). Materials:Mixed Media. Duration: 13 min. Dimensions: 5.1 m × 11 m × 3 m high. Firstexhibited: Venice Biennale, 2001.
Philippe Grandrieux
L’Arrière Saison (2007). Video installation of two looped films, 9 min and10 min, exhibited at the Galérie Castillo/Corrales, Paris, May 2007.
Grenoble (2007). Video installation of two looped films, 44 min and 17 min,exhibited at Montévidéo (centre de création contemporaine), Marseille, July2007.
Chris Marker
Silent Movie (1995). Video installation of five monitors and five loopedsequences, 20 min each, series of enlarged black-and-white video stills, seriesof intertitles and computer-designed sketches of movie posters, exhibited atthe Wexner Centre for the Arts, Ohio, January 28–April 9, 1995.
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246 Installations Cited
OWLS AT NOON Prelude: The Hollow Men (2005). Looped multimediainstallation, 19 min. Exhibited at the Museum of Modern Art, New York,April 27–June 13, 2005.
Chris Marker: A Farewell to Movies (2008). Collected multimedia works, exhib-ited at the Museum für Gestaltung, Zurich, March 12–June 29, 2008.
Agnès Varda
The Portrait Cabin (La Cabane aux portraits, 2006). One cabin, 7 m × 4 m(sloped roof, maximum height 3.8 m), mixed materials of wood, corrugatedsheet metal, fibrous cement; inside, on the walls, 60 digital photographs of0.4 m × 0.6 m and two enlarged frames of 1.2 m × 1.8 m, four light bulbssuspended from the roof (2006).
The Big Postcard, or Memory of Noirmoutier (La Grande carte postale ouSouvenir de Noirmoutier, 2006). One digital photographic enlargement,1.7 m × 2.5 m; five drawers with remote opening mechanism; one controlpanel, 1.1 m × 2.5 m × 0.32 m with multiple buttons on a reduced-size imageof La Grande Carte postale; four videos on a loop of 40 sec; a paper guide tothe images.
My Cabin of Failure (Ma cabane de l’échec, 2006). One cabin, 7 m × 4 m (slopedroof, maximum height 3.8 m), door, mixed materials: commercial copy offilm reel of Les Créatures, mixed materials of metal, wood and corrugatedsheet metal.
The Gois Causeway (Le Passage du Gois, 2006). Installation space, 10 m × 3 mcorridor; electric barrier 2 photographic friezes, 0.8 m × 10 m; 1 curtain ofPVC strips, 3 m × 3 m; video film, 6 m, on a loop; 1 curtain of cork floats,3 m × 3 m; 1 small pyramid of coarse salt (h. 0.8 m) DV film projected on aloop, 6 min; text.
Ping-pong, Flipflops and Camping (Ping-pong, tong et camping, 2005–2006).Painted mural panel, 3 m × 4.5 m; one inflatable plastic double mattress;one large rubber ring and assorted coloured plastic accessories; one videofilm with sound track projected on a loop, 6 min; round diaporama on aloop, 4 min.
Zgougou’s Grave (Le Tombeau de Zgougou, 2006). Installation space, 3 m × 3 m;DV film projected on a loop; 6 min; projected over mound of sand on floor;3 min 40 sec sound track by Steve Reich.
The Noirmoutier Triptych (Le Triptych de Noirmoutier, 2006). Three wooden fold-ing screens (1.04 m × 4.57 m open, 1.04 m × 3.26 m closed). Three 35 mmfilms of 9 min 30 sec on a loop, digitised and synchronised.
The Widows of Noirmoutier (Les Veuves de Noirmoutier, 2005). Large mural panel,3 m × 4 m with 14 openings, one 35 mm film of 9:30 min on a loop, digi-tised and with added sound, 14 video films of 3 min 30 sec with sound viaheadphones, 14 monitors surrounding the screen, 14 chairs and 14 head-phones (2004–2005). Exhibited at the Galérie Martine Aboucaya, and at theFondation Cartier, Paris, in the exhibition L’Île et elle, June 18–October 8,2006.
Filmography
5 × 2 (2004) [DVD] François Ozon. France: Canal+. 90 min.A Grin without A Cat (Le Fond de l’air est rouge, 1977) [Film] Chris Marker. France:
INA, Argos Films, 240/180 min.À ma soeur! (2001) [DVD] Catherine Breillat. France: CB Films, 86 min.Almayer’s Folly (La Folie d’Almayer, 2011) [Film] Chantal Akerman. Belgium,
France, Cambodia: Artémis Productions, Paradise Films, 130 min.The Beaches of Agnès (Les Plages d’Agnès, 2008) [DVD] Agnès Varda. France: Ciné
Tamaris, 110 min.Le Beau Serge (1958) [DVD] Claude Chabrol. France: Ajym Films, Coopérative
Générale du Cinéma Français, 98 min.Blow Up My Town (Saute ma ville, 1968) [Video] dir. Chantal Akerman, Belgium:
Chantal Akerman. B&W, 13 min.Burlesque (2010) [DVD] Steve Antin. USA: Screen Gems, 119 min.The Captive (La Captive, 2000) [DVD] Chantal Akerman. France, Belgium:
Gemini Films, Paradise Films, 118 min.Chats perchés (2004) [DVD] Chris Marker. France: Films du jeudi Argos Films),
58 min.Cleo from 5 to 7 (Cléo de 5 à 7) (1962) [DVD] Agnès Varda. France: Ciné Tamaris,
90 min.Les Demoiselles de Rochefort (The Young Girls of Rochefort, 1967) [DVD] Jacques
Demy. France: Madaleine Films, Parc Film, Ciné Tamaris, 120 min.Disappearance at Sea (1996) [16mm Film] Tacita Dean, UK: Tacita Dean, 13min.The Eighties (Les Années 80, 1983) [Video] Chantal Akerman. France, Belgium:
Abilène Productions, Paradise Films, 82 min.Flandres (2006) [DVD] Bruno Dumont. France: 3B Productions, Arté Cinéma,
91 min,From The East (D’Est, 1993) [Video] Chantal Akerman. Belgium, France,
Portugal, Poland: Paradise Films, La Sept Arte, Lieurac Productions, 107 min.From the Other Side (De L’Autre Côté, 2002) [DVD] Chantal Akerman. France,
Belgium, Australia, Finland, Mexico: AMIP, Paradise Films, 103 min.The Gleaners and I (Les Glaneurs et la Glaneuse, 2000) [DVD] Agnès Varda.
France: Ciné-Tamaris, 82 min.Golden Eighties (1986) [Video] Chantal Akerman. France, Belgium: La Cécilia,
Paradise Films, 96 min.Histoire(s) du Cinéma (1997–8) [DVD] Jean-Luc Godard. France: Gaumont, CNC.Histoires d’Amérique: Food, Family, Philosophy (1989) [Video] Chantal Akerman.
Belgium, France, US: La Sept, Paradise Films, 92 min.Hotel Monterey (1972) [film] Chantal Akerman. Belgium, US: Chantal Akerman,
65 min.Immemory (1997) [CD-ROM] Chris Marker. France: Centre Pompidou/Les Films
de l’Astrophore.
247
248 Filmography
In the Realm of the Senses (Aï no corrida/L’Empire des sens) (1986) [film] NagisaÔshima. France/Japan: Argos Films, 109 min.
La Jetée (1962) [DVD] Chris Marker. France: Argos Films, 28 min.Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) [DVD] Chantal
Akerman. France, Belgium: Paradise Films, 201 min.Jacquot de Nantes (1991) [DVD] Agnès Varda. France: Ciné Tamaris, 118 min.Level Five (1997) [DVD] Chris Marker. France: Les Films de l’Astrophore, Argos
Films, 106 min.Moulin Rouge (2001) [DVD] Baz Luhrmann. USA, Australia: Twentieth Century
Fox, 127 min.News from Home (1977) [video] Chantal Akerman. France, Belgium, USA:
INA/Paradise Films, 85 min.Nightfall over Shanghai (Tombée de nuit sur Shanghai 2007). [DV] Chantal
Akerman. Portugal: Fundação Calouste Gulbenkian.L’Opéra mouffe (1958) [DVD] Agnès Varda. France: Ciné Tamaris, 16 min.Le Petit Soldat (1963) [DVD] Jean-Luc Godard. France: Les films impérial,
88 min.La Pointe courte (1955) [DVD] Agnès Varda. France: Ciné Tamaris, 86 min.Retour à Sarajevo (1995) [DVD] Philippe Grandrieux, (France, Bosnia and
Herzegovina: La Sept Arte, 45 min.Salut les Cubains (1963) [DVD] Agnès Varda. France, Cuba: Ciné Tamaris,
30 min.Sombre (1998) [DVD] Philippe Grandrieux. France: Arté, 112 min.Sunless (Sans Soleil, 1983) [DVD] Chris Marker. France, Japan, Guinea Bissau:
Argos Films, 1983, 100 min.Tomorrow We Move (Demain on déménage, 2004) [DVD] Chantal Akerman.
France, Belgium: Gemini Films, Paradise Films, 110 min.L’Une chante, l’autre pas (1977) [DVD] Agnès Varda. France: Ciné Tamaris,
107/120 min.Un Lac (2008) [Film]. Philippe Grandrieux. France: Mandrake Films, Arté France
Cinéma, 90 min.Vagabond (Sans Toit ni loi, 1985) [DVD] Agnès Varda. France: Ciné Tamaris,
Channel Four Films, 105 min.Vertigo (1958) [DVD] Alfred Hitchcock. US: Paramount Pictures, 128 min.Very Nice, Very Nice (1961) [Film] Arthur Lipsett. Canada: National Film Board
of Canada, 7 min.La Vie nouvelle (2002) [DVD] Philippe Grandrieux. France: Blue Light, 102 min.X.Y.Z. (1960) [Film] Philippe Lifchitz. France: Argos Films, 11min.
Notes
Introduction
1. Tacita Dean’s 16 mm films such as Disappearance at Sea (1996) explore thedecay and return of the analogue moving image (see Nancy 2003).
Chapter 1
1. For a deeper discussion of Bergson and film theory, see Totaro (2001).2. For an explanation of Deleuze’s critique of phenomenology in Cinema 1: The
Movement-Image, see Perkins (2000).
Chapter 2
1. Ceci est l’histoire d’un homme marqué par une image d’enfance. La scène quile troubla par sa violence, et dont il ne devait comprendre que beaucoup plustard la signification, eut lieu sur la grande jetée d’Orly, quelques années avantle début de la troisième guerre mondiale.
2. For example, Very Nice, Very Nice (dir. Arthur Lipsett, Canada, 1961).3. Marker has consistently released English and French versions of his films,
where the voiceover itself is directed in English or in French, and not dubbedor subtitled. Curiously, in the English version, the whispered voices are inGerman. In the French, the whispered voices are also in French.
4. De vrais enfants. De vrais oiseaux. De vrais chats. De vrais tombes.5. Many thanks to Isabelle McNeill for alerting me to the fact that Chris Marker’s
voice appears, uncredited, in Level Five (1997).6. This is mainly due to intellectual property and copyright laws which prohibit
the representation of Microsoft products on screen. Nonetheless, this partic-ular choice of representation still exerts some form of auteurist choice in themeans by which it is represented.
Chapter 3
1. Mireille Rosello makes reference to qualities of the ‘in-between’ in Varda’swork, albeit in a different context, in her article, ‘Portrait of the Authoras an old Woman: Agnès Varda’s Les Glaneurs et la glaneuse’ (Rosello 2001:29–36).
2. For a more detailed account of the beginnings of the French New Wave, seeJefferson Kline (2004).
3. For descriptions of Varda’s approach to cinematic writing, see Smith (1998)and Beugnet (2004).
249
250 Notes
4. The term coeval is used in terms of its gesture of parity and co-informative illu-mination in Mieke Bal’s text Quoting Caravaggio: Contemporary Art, PreposterousHistory (Bal 1999).
5. In a brief conversation I had with Varda (October 28, 2007), I askedher whether she could comment on this particular attachment to andexceptionally attentive filming of objects. Her response was unequivo-cal, as she stated, ‘I am not interested in objects. It is the people I aminterested in.’
6. ‘Je m’implique toujours très précisément dans mes films, non par narcissisme,mais par honnêteté dans ma démarche.’
7. Access to the island via the causeway has since been superseded by a bridge –the mode of access itself is outdated and archaic, yet Varda chooses not toacknowledge the presence of the bridge in her exhibition.
8. This is essential to Barthes’ notion of the ça a été – the preserved pastness ofthe photographic image. See Barthes (1981).
Chapter 4
1. This said, it should be recognised that Akerman had already started makinginstallations in the mid-1990s, her first being D’Est: au bord de la fiction, akind of ‘expanded’ vision of the documentary work, D’Est (1993).
2. Gwendolyn Audrey Foster has posited Akerman’s work as queering gender(Foster 2003b); Ivone Margulies’ comprehensive and detailed examinationof Akerman’s films tends towards a designation of her work as experi-mental and formalist (Margulies 1996); Marion Schmid’s text draws outthe implications of Akerman’s cinema as diasporic Jewish (Schmid 2010);Hamid Naficy places her within the category of exilic cinema (Naficy 2001);Edna Moshenson argues that Akerman exposes issues of post-Holocaustpostmemory (Moshenson 2006b).
3. For a fuller account of Akerman’s relationship to the American avant-garde,see Margulies (1996) and White (2005).
4. I am greatly indebted in this line of thought to the recent work of EmmaWilson on filmed flesh and vulnerability in her research on muses in thework of contemporary female filmmakers.
5. Gilles Deleuze also discusses the ‘four stages’ of modern burlesque in Cinema2: The Time-Image (Deleuze 1989: 55–67).
6. ‘un chapeau . . . une chemise . . . une écharpe . . . une cravate . . . une pair degants . . . un slip . . . un after-shave Mennen, un rasoir électrique . . . un pan-talon.’
7. This term is used by Foster to describe the attentiveness of spectators to bod-ily performance in Akerman’s earlier work, The Eighties. I am indebted to herin my application of it to Akerman’s installations.
8. For a fuller account of Akerman’s tetralogy, see Schmid (2010: 98–126).9. Je suis une femme! . . . Comme je suis une femme, je ne peux pas dire tous
ce que je sens: mes souvenirs, mes secrets et mes pensées à haute voix. Moije peux juste souffrir en silence. Je peux juste dire sur mes feuilles et je suiscertaine que personne pourra le lire. Et tu seras mon seul confidant. Tu neme trahiras jamais.
10. For further discussions of the origins of thought about attention, see Hatfield(1998).
Notes 251
Chapter 5
1. Translation partly cited in Brenez (2003), translated by Adrian Martin.2. Some examples of this are À ma soeur! dir. Catherine Breillat (2001) Flandres
dir. Bruno Dumont (2006) and 5 X 2 dir. François Ozon (2004).3. Perhaps unsurprisingly, while Un Lac retained many of the formal exper-
imental features of Grandrieux’s previous two feature films, its greatlyreduced sexual and violent material drew a far warmer response fromthe critics – Le Monde described it as ‘a story of sensation’ (Douin2009).
4. Notes from my interview with Grandrieux, June 17, 2008, Paris.5. Greg Hainge also comments strongly on La Vie nouvelle’s absence of nar-
rative structure: ‘[ . . . ] it serves no purpose to attempt to give an accountof the film’s narrative structure; indeed, one might suggest that anycritic who attempts to do so when talking of La Vie nouvelle (and manydo) necessarily imposes a structure which is simply not there’ (Hainge2007: 167).
6. Hainge refers to Grandrieux’s interview in Balthazar: Revue d’analyse ducinéma contemporain (Grandrieux 2008).
7. Grandrieux made similar comments when I interviewed him on June 17,2008 in Paris, stating ‘I wanted to film in a direct relation to things. Themise-en-scene is not a matter of shooting script and restoration, it is linkedmore to a kind of presence, the stubborn presence of things [ . . . ] Narrative isonly a support’ [translation mine]. (‘J’ai voulu filmer en rapport direct avecles choses. La mise en scène n’est pas affaire de découpage et restauration, elleest plutôt lié à une forme de présence, du présence obstiné des choses.[ . . . ]La narration n’est qu’un support.’)
8. In particular Lyotard’s Libidinal Economy develops Deleuze and Guattari’smachines of production, which rest on the groundless grounds of the non-phenomenological body without organs. Lyotard however, calls it a bodywithout thought (see Lyotard 1993).
9. For more on Deleuze’s geste, see Deleuze (1969: 325–372).10. ‘ce sont des archétypes . . . dans les contes de fées il n’y a pas de morale.’
My interview with Grandrieux, June 17, 2008.11. My sincere thanks to Michael Witt, co-curator of the programme at Tate
Modern, with whom I discussed this.12. In my interview with him in June 2008, Grandrieux also explained that he
felt the Deleuze text that engaged most deeply with the cinema was not infact Cinema 1: The Movement-Image or Cinema 2: The Time-Image but Deleuze’sFrancis Bacon: The Logic of Sensation (Deleuze 1986, 1989, 2004).
13. When I interviewed Grandrieux in June 2008, he was about to travel to theCongo for his next project, a study of Conrad. Given Grandrieux’s attractionto the body’s night, it seems pertinent to note his next cinematic excursioninto the Heart of Darkness.
14. Grandrieux also comments on his spectatorial directions: ‘I would like thespectator to be somewhere between sleep and waking, in a state of semi-consciousness’ (translation mine). (‘J’aimerais bien que le spectateur soitentre le sommeil et le réveil, dans un état de semi-conscience.’) (Grandrieuxet al. 1999: 40).
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Index
acousmatic, 91, 94–5, 100see also space, vocalic; Chion,
Michelacousmêtre, 95, 99, 104Adorno, Theodor, 47, 228–9Adorno, Theodor and Max
Horkheimer, 47aesthetics, radical, 243aesthetics of sensation, 200
see also Beugnet, Martineaffect
embodied. see embodiment, andaffect
humour. see humourand objects, 107–9, 112–19, 127
passim, 128–34shared or communal, 15, 17, 33,
108, 122–4, 128–33, 136, 138–9,231, 233
spatialised, 100, 124, 128–32,136–40, 141–2, 144
theories of, 5, 15, 17–18, 22–3, 35,45, 63–4, 80–3, 84–5, 208–9,238–9; see also Deleuze, Gilles;nostalgia
voice and, 94, 97–8affection image, 239
see also under Deleuze, GillesAgamben, Giorgio, 18, 189 passim,
193–4, 220–2, 225–9agency, 9, 34, 41, 44, 60–1, 64, 89,
115–22, 211–13, 219–22, 242see also subjectivity; voice;
auteurism and authorship;body, -subject
Akerman, Chantal, 5, 10–11, 14,17–18, 20, 33, 37, 46, 52, 143–86,188, 235–6, 237, 242
Althusser, Louis, 46, 47, 49, 51analogues and analogy, 6, 22, 25, 27,
28, 31, 34–6, 61
archetype, 5, 61, 189, 213, 215,218–19, 220, 222–3, 226, 229
architecture nostalgique, 134–5, 136,142
Arendt, Hannah, 220, 221Artaud, Antonin, 66 passim, 194, 195
passim, 207 passimattention
as affect, 18, 115, 181–3, 213bodily, 17, 146, 167–8, 170, 175–81,
184and distraction, 17–18, 145–6, 154,
167, 168, 176–8, 180, 182and inattention, 146, 155, 165, 172,
176–7, 181, 182–3, 185–6auteur
figure of, 13, 70, 92, 98, 108,109–12, 116, 119, 123, 144,148–9, 151, 160, 170, 183–4,199, 236
engagé, 14, 110theory, 16, 70, 98, 105, 109–12, 123,
148–9, 169, 183–4, 199auteurism and authorship, 15, 105,
107, 110, 133, 183autobiography, 145, 147, 150, 153,
169, 172, 183–4see also self-representation;
self-portraiture
Bal, Mieke, 130–1, 133, 134bare life, 193, 202, 220–1, 225, 226,
228baroque, aesthetic of the, 18, 155,
156, 167Barthes, Roland, 5, 76, 77, 82, 127,
136Baudry, Jean-Louis, 41, 46Bazin, André, 5–6, 15, 34, 41,
66, 109becoming. see under Deleuze, GillesBellour, Raymond, 68, 77, 191, 199
263
264 Index
Benjamin, Walter, 34, 46, 76, 77, 86,176, 177, 178, 220
Bergson, Henri, 1, 15, 21, 24–6, 29, 31,32, 34, 35, 40, 66, 77, 84, 177
Bergstrom, Janet, 149, 159, 164–5betweenness, 3, 9, 10, 12, 19–20, 28,
55, 66, 83, 87, 93, 101, 106,108–9, 111, 114, 119, 121–2, 175,233, 235–6, 242
in-betweenness. see betweennessBeugnet, Martine, 110, 188, 189–92,
196, 200–1, 205, 214, 215,218–19, 225
Blow Up My Town, 143, 151, 158–60bodiliness, 1, 9, 19, 37, 49, 53, 118,
145, 154–5, 175, 181, 194, 199,207, 214, 216, 230, 235
bodyageing, 118–20cinematic, 8, 195film, 99, 106, 111, 146, 229, 235,
238, 240filmmaker’s, 69, 92, 99, 104, 118,
120, 144, 146; see also auteur,figure of
fortuitous, 18, 194, 204–6, 211, 214,230
lived, 43, 56, 108, 244as object, 37, 39, 103, 106, 119,
187–8, 193, 202, 210, 215, 229proper, 206, 210, 230-subject, 19, 54, 61, 62, 64, 129,
193, 195, 198, 202, 234–5, 237,239–40, 242, 243
subjugated, 33, 222, 226, 229vocalic, 104; see also space, vocalic;
Chion, MichelBourriaud, Nicolas, 241Boym, Svetlana, 128–9Brenez, Nicole, 191, 199, 207–8, 228Breton, Jules, 117–18burlesque, 18, 144–5, 150, 155–62,
167, 168, 185Butler, Judith, 8Butler, Kristine, 153, 176, 177
carnival, concept of, 150–1, 155, 156Carroll, Noel, 160–2Cavell, Stanley, 8, 52
Chaplin, Charlie, 155, 158–9, 160, 235Chat, M., 69, 101, 104Chats perchés, 16, 69, 92, 94, 100,
101–5, 106, 242chiasm. see Merleau-Ponty, Maurice,
and chiasmChion, Michel, 93–5, 98
see also acousmêtre; acousmatic;space, vocalic; body, vocalic
choreography, 135, 154, 155, 158,159, 163
Christie, Ian, 182–3ciné-essai, 33, 69, 92, 94, 103cinema
analogue, 35mm. see film, analogueavant-garde, 10, 34, 52, 70, 144,
146, 148, 149–51, 156, 165,200, 215
experimental, 10, 16, 18, 28, 52, 71,144–6, 148, 150, 154, 160, 169,214
French (resisting), 9–12, 144, 146,147–8, 191–2, 230
cinéma burlesque, 155Clément, Aurore, 148, 153, 156, 158,
163, 165, 166, 174Cléo from 5 to 7, 109, 123coevalness, 111, 115, 120, 121comedy, 10, 18, 154, 155, 156–7,
160–1, 162, 164, 185Conrad, Joseph, 220consanguinity, 121
see also Renov, Michaelconsciousness, 29, 37–8, 53, 58–9, 63,
88, 89, 169, 195, 205–7, 218consubstantiality, 121
see also Renov, MichaelCooper, Sarah, 116–19, 122, 241corporeality, 1, 57, 161, 189, 191–5,
198, 199, 201, 204–5, 211, 214,228, 230
corpo-reality, 196, 213, 243corps fortuit. see body, fortuitouscorps proper. see body, propercultural materialism, 46–52cultural memory. see memory, cultural
dance, 97, 156–7, 159Daney, Serge, 66, 94
Index 265
Dean, Tacita, 12De l’Autre côté. see From the Other SideDeleuze, Gilles, 1–2, 9, 18, 26–7, 35,
45, 49, 54, 66, 72, 75, 80–1, 84,91, 189, 194–5, 199, 203–11, 219,220, 221 passim, 223, 239
Anti-Oedipus, 204, 207Cinema 1: The Movement Image, 2,
80, 210, 219Cinema 2: The Time Image, 1, 26, 45,
72, 84, 199, 210, 239concept of becoming, 25, 36, 90,
201, 203, 204, 206, 207, 211,215, 218
concept of burlesque, 250concept of geste, 207, 223, 251The Fold, 18Francis Bacon: The Logic of Sensation,
199, 223A Thousand Plateaus, 80, 204
Demain on démenage. see Tomorrow WeMove
Demy, Jacques, 125–6, 135, 140, 142Derrida, Jacques, 2, 54, 63, 136–7
concept of the spectre, 107–8, 137,140, 222, 233
concept of the trace, 137Echographies of Television, 136–7
D’Est. see From the Eastdigital technologies, 7, 10, 33, 35, 69,
73, 101–2, 103–4, 106, 117, 233,235, 236–8
dispositif, 49Doane, Mary Ann, 22, 24, 26, 34, 51,
53, 73, 85, 86documentary film, 10, 14, 17, 27, 65,
69, 83, 91–106, 108–12, 116–22,141, 146–7, 153, 169, 189, 236
Dubois, Philippe, 72–3, 77–8, 79duration. see temporality, and
duration
Echographies de la television. see underDerrida, Jacques
economies, 22, 24, 47, 51, 64, 96, 115,208, 210, 211
Eighties, The, 150, 154, 158embodied spectatorship, 33, 38, 67,
133, 141, 177, 182, 192–3
embodied subjectivity. see subjectivity,embodied
embodiment, 1, 5, 9, 16, 20, 36–41,53–67, 211
and affect, 10and attention. see attention, bodilycinematic or filmic, 2, 7, 16, 18, 19,
33, 37–8, 46, 49, 53–4, 63, 65,93, 104, 118, 127, 188, 231,236, 238
and disembodiment, 5, 16, 33, 37,39, 41–6, 80, 93, 101, 104,105–6, 107, 204, 231
and gesture, 161–2, 165and materiality, 7–8, 18, 51–2, 55–7,
59, 65–7, 105, 107, 192–3and presence, 4, 7, 16–17, 22, 30,
36–41, 91–2, 94–5, 105, 106,111, 120, 126, 182, 192, 205–6,230
and sense theory, 10, 18, 19, 30,37–8, 40, 46, 49, 55–62, 63,66–7, 91, 98, 100, 234
and sexuality, 8, 55, 162and temporality, 16, 23, 67, 111–12,
188, 230, 231and thought, 4, 9, 23, 30, 35–6,
36–41, 49, 51, 53–67, 94, 121,195, 230, 235
enfoldment, 3, 15, 19, 27, 53, 55–7,62–3, 81, 84, 105, 129, 155, 167,191, 238
enworld, 62, 67, 129, 195, 234, 238,240, 242–3
ephemerality, 5, 7, 13, 33, 35, 65, 100,104, 112, 135, 145–6, 155, 167,170, 180–6, 213, 237, 242
ethicsLevinasian, 2, 80, 122, 137, 241of the image, 14, 64–5, 81, 104,
112–13, 119, 120, 122–4, 127,136, 140–1, 189–90, 208–9, 216,229–30, 241, 243
and relationships, 61, 64, 65, 107,108–10, 123, 136–7, 141–2, 230,231, 233, 236
and the spectre. see Derrida, Jacques,concept of the spectre
266 Index
ethnography, 2, 3, 37, 45, 62, 121, 241domestic, 121
everydayexperience, 2–3, 25, 123, 149, 157,
161, 163, 184poetics of the, 123
face, the, 80–3fairy tales, 196, 215, 217, 219, 222feminist
filmmaking, 14, 144, 147, 148,169–70
theory, 8, 9–10, 32, 43, 48, 144,149
filmanalogue, 9, 27, 33, 35, 69, 100–2,
106, 235, 236continuity and discontinuity, 25,
33, 34–5, 70, 72, 75, 83, 85,177–8
digital, 7, 10, 33, 35, 69, 73, 101–4,106, 117, 233, 235–8
and dynamism, 33, 69, 70, 73–7,88–90, 92, 99, 114, 153
and immateriality, 7, 70, 107, 144,155, 170, 175, 192, 216
language, 44, 110, 114, 123, 197; seealso language
materiality of, 5, 6, 11, 19, 28, 31,33, 36–7, 51, 66, 77, 100, 103,146, 158, 189, 191–4, 201, 216,237, 239–40
ontology of, 6–9, 38–9, 52, 68, 106,110, 114, 233–4, 236
and painting, 11, 30, 38, 60–1,117–18, 138, 181, 191, 199,216
phenomenology, 2, 20, 38, 45, 53–4,61, 66, 144
and photography, 5, 7, 11, 27, 70–1,72, 76, 77–8, 82, 83–4, 86–8,106, 117–18, 127, 132, 136,139, 152, 169, 173, 233,236
projection as device, 7, 25, 37, 73,75, 126, 141, 154, 171–2, 175,178–9, 181, 199, 235,237
and rhythm, 33, 72–4, 76–7, 83–4,89–90, 96–8, 157, 159, 167,177–8, 191, 212
and stillness, 7, 25, 27–8, 33, 69–71,73–7, 78, 84, 87–91, 133, 163,168, 179–80
film-body, 99, 111filmosophy, 8, 210flesh. see Merleau-Ponty, MauriceFoucault, Michel, 21, 49–50, 207, 221Freud, Sigmund, 21, 26, 31, 40–3, 207From the East, 14, 146, 153, 160From the Other Side, 14, 146, 153, 169
Geertz, Clifford, 62gender, 8, 19, 48, 145–6, 159, 161,
162, 167, 176, 184, 216genre, 130–1, 145–6, 153–4, 156, 157,
161, 162, 168, 190, 192gesture
and bodily performance, 1, 5, 37,105–6, 144–6, 153, 154–9,161–3, 165–7, 174, 218, 223,235, 242
cinematic, 66, 75, 87, 103, 110, 141,142, 154–9, 165–7, 168, 170,174, 184–5, 191, 202, 207, 235,242
and the everyday, 2, 123, 159and gender, 165–7
Gleaners and I, The, 17, 109, 115–23,135
Godard, Jean-Luc, 6, 10, 109, 237Gois Causeway, The, 126, 132–3Golden Eighties/Window Shopping, 150,
154Grandrieux, Philippe, 10–12, 14, 18,
19–20, 28, 33, 37, 63, 187–230,232, 235, 236, 237, 243
Grin Without A Cat, A, 14
Hainge, Greg, 191, 201, 214–17,227
Hall, Stuart, 47–8haptic visuality, 35, 45, 62, 167, 193,
220, 234Heidegger, Martin, 2, 13, 55, 144Histoires d’Amérique, 150, 158Homage à Zgougou. see Zgougou’s Grave
Index 267
home, 113, 114, 115, 128–9, 131, 135,146–7, 160
homesickness, 128–9see also nostalgia
Homo Sacer, 18, 193, 221–2, 225, 227,229
humour, 156, 158, 159Husserl, Edmund, 2, 13, 55, 62, 144,
231Huyghe, Pierre, 11Huyssen, Andreas, 78–9
ideology and film criticism, 9, 13,46–50, 103, 150
index, the, 5, 26–7, 35, 59, 75, 127,212
indexicality, 27, 66, 87installation art, 5, 6, 7, 11, 126, 145,
150, 178, 238and curation, 125, 180moving image, 10, 18, 108, 109,
125–40, 146, 169, 176–83, 185,232, 235
intentional arc, 57–8, 61intentionality, 12, 19, 29, 30, 59–60,
211, 212, 238, 242intersubjectivity, 8–9, 19, 52, 146,
167, 170, 241
Jacquot de Nantes, 126, 135Jameson, Fredric, 129–31Jean-François Millet, 118Jeanne Dielman, 23 Quai du Commerce,
1080 Bruxelles, 143, 145, 149, 151,158
Jetée, La, 10, 14, 28, 31, 33, 68–92, 99,105–6, 133, 188, 235, 242
Kant, Immanuel, 22–4, 26, 30, 176–7Keaton, Buster, 155, 158–62, 235Klossowski, Pierre, 2, 18, 64, 189,
194–5, 199, 203–12, 214, 238Kracauer, Siegfried, 46, 66, 76, 86Kuntzel, Thierry, 11, 190
Là-bas. see Over ThereLacan, Jacques, 21, 41–4, 46, 47, 51,
54–5, 136, 200, 211
language, 11, 19, 23, 44, 48–9, 54–7,59–61, 110, 114, 116, 123, 143,151, 157, 163, 191, 197, 205, 213
Laplanche, Jean, 116Les Glaneurs et la glaneuse. see Gleaners
and I, TheLevel Five, 248Levinas, Emmanuel, 2, 80, 122, 137,
241L’Île et Elle, 17, 46, 109, 123, 124–36looking
ethics of, 82, 136productive, 44, 144, 148, 159, 168,
180, 242and the senses, 45, 168
Lupton, Catherine, 85–8, 103Lyotard, Jean-François, 206, 208–9,
211, 214, 251
Marcher à côté de ses lacets dans unfrigidaire vide. see To Walk Next toOne’s Shoelaces in an Empty Fridge
Marker, Chris, 5, 10, 13, 14, 16, 19–20,28, 31, 37, 52, 68–106, 107–8,109, 111, 115, 116, 127, 133, 190,235–6, 237, 240–2
Marks, Laura U., 52, 65, 165, 220, 243materiality of film. see film,
materiality ofMatisse, Henri, 11, 60, 191media
ephemeral, 181–3moving image, 181–3, 185, 186
melancholia, 107, 124, 128, 135–6, 157memory, 15, 23, 26–9, 33–5, 72,
77–81, 87, 100, 103–4, 129affective, 33, 77–81, 100, 112, 124,
127, 129, 142, 172cultural, 4, 33, 100, 124and technology, 34, 87, 100, 102–4
Merleau-Ponty, Maurice, 3, 8, 13, 21,23–30, 40, 53–63, 137, 160
and the body, 8, 11, 56–8, 61–2,119, 160, 194–5, 253–4
and chiasm, 3, 56–7, 119and film, 21, 239, 243, 244and flesh, 3, 56–7, 63–4, 106, 187,
194–5, 201–2, 230, 235, 243
268 Index
Merleau-Ponty, Maurice – continuedand intentionality, 11, 29–30,
59–60, 160, 211–12, 238, 242and language, 11, 30, 53, 54, 55, 57,
59–61, 191–2and painting, 11, 57, 60–1, 191and visibility, 56–8, 60, 62, 137,
191, 231Metz, Christian, 9, 34, 41, 44mimesis, 42, 65–6Mondloch, Kate, 178–9morality, 215–17, 219, 222, 228, 229,
243mourning, 124, 128, 131, 133, 135,
136, 140, 142movement
bodily, 59, 88, 146, 152, 154–5, 157,160, 162–8, 179, 185, 192, 212,218, 223
camera, 135, 164, 184–5, 192,212
and dynamism, 28, 33, 35–6, 68, 70,73–5, 82, 85, 88–9, 132, 143–4,193, 201, 204, 208, 219, 233
spectatorial, 145, 169, 170–2, 176–7,179–80
Movement-Image, The. see Deleuze,Gilles
movements in film theory, 2, 9, 32,39, 50, 106, 190, 241
Mulvey, Laura, 6, 9, 12, 27, 32, 42,73–4
Nancy, Jean-Luc, 2, 54, 64, 210narrative
archetypal, 19, 63, 193, 196,218–19, 222, 225
canonical, 11, 52, 150–1, 156,169–70, 179–80, 183–4, 210
cinema, 10, 74, 86, 150, 165, 240,243
cyclical, 70, 82, 83–4, 89, 127flows of, 164, 217, 219linear, 72–3, 72, 85, 150, 154, 180,
223structures of, 151, 154, 208, 218
Negative Dialectics, 228–9see also Adorno, Theodor
News From Home, 146, 147, 160
Nietzsche, Friedrich, 2, 194, 203–4,205–7, 211, 220
nostalgia, 5, 17, 38, 107, 109,124, 128–32, 133, 134,136, 142
architecture of. see architecturenostalgique
productive, 109, 128–30, 136, 142
objectivity, 17, 66, 97–8, 111, 140–2,242, 243
objectsand affect, 17, 20, 52, 63–4, 107–9,
112–18, 124, 127, 128–30,132–3, 136–40
of art, 48–50, 53, 60, 126, 241bodies as, 207, 215, 220, 222,
229everyday, 111, 139, 163–7; see also
under everydayfilmic and filmed, 3, 4, 6, 7, 19, 20,
32, 34, 37–9, 42, 44, 45, 46,51–2, 53, 69, 71, 76, 80, 107–8,110–11, 121, 122–4, 136, 140–1,163–5, 189, 202, 237, 240,242
relational, 3, 17, 112–18, 122, 124,140–2
as screens, 17, 42, 124, 126–7, 136,235
as sites of memory, 20, 26–8, 29, 80,87, 136–9
and subjectivity, 5, 7, 9, 13, 16, 17,19, 53–9, 64–6, 97–8, 108, 111,112–22, 136–8, 140–2, 206–8,215–16, 240–3
observer-participants, 168, 171–2, 175,177, 179–81, 188
see also spectatorsontology, 6, 9, 19, 51, 114, 191Open, The, 222Opéra mouffe, L’, 14, 120Osborne, Peter, 177–8, 184Over There, 14
Panofsky, Erwin, 34, 41Passage du Gois, Le. see Gois Causeway,
The
Index 269
Peirce, Charles Sanders, 24, 26–7,59, 66
performancebodily, 5, 18, 37, 146, 150, 156,
157–62, 164–5, 185as performativity, 42, 83, 145,
157–8theatrical, 146, 150, 154, 155–6,
162–3theory, 182, 184–5
Petit Soldat, Le, 6phenomenology, definition of, 2–3Phenomenology of Perception, 8, 28–9,
55, 58see also under Merleau-Ponty,
Mauricephotogramme, 14, 28, 69, 71, 73–90,
92, 133, 235photographs, 5, 11, 27, 70–2, 77–8,
82–4, 86–8, 93, 106, 118, 127,132, 136, 152, 169, 173, 233,236
photo-roman, 69, 72, 74, 77, 78place and space, 117, 130, 132–3, 135,
146–7, 196, 237postmemory, 148, 250presence
authorial, 16, 37, 69, 101, 104, 105,111, 188, 235, 240, 242
bodily or embodied, 17, 23, 37, 69,91, 101, 111, 182, 237, 240, 242
and temporality, 22–4, 26, 28–41,66, 229; see also temporality
psychoanalysis, 39, 41, 43–4, 54, 116psychoanalytic film criticism, 15, 17,
28, 32, 38–9, 41–6, 47–52, 55, 61,67, 128–9, 131, 149, 200, 201–2,242
psycho-geography, 127
Rancière, Jacques, 15, 54, 63, 185,241
Relational Aesthetics, 241relationality, 2, 59, 90, 99, 107–8,
112–22, 124–5, 137, 231–4see also subjectivity; objects,
relationalRenov, Michael, 121
representationarguments against, 10, 27–8, 34–5,
46, 49, 50, 51, 61, 82, 89,121–2, 127, 168, 187, 193,202–3, 208, 238–40, 243
and memory, 23–8Riegl, Aloïs, 45, 62Rodowick, DN, 9, 38–9, 72, 89, 106,
233–4, 236, 240Rosello, Mireille, 116, 118, 120, 249
sacred, concept of the, 63, 95, 106,205
see also Homo SacerSans Soleil. see SunlessSaute ma ville. see Blow Up
My TownSchechner, Richard, 182, 184Schmid, Marion, 146–8, 154, 156–9Schwenger, Peter, 107Secondness, qualities of, 26selective inattention, 182
see also under attentionself-documentary, 120, 141
see also Gleaners and I, Theself-portraiture, 118, 122, 169self-representation, 118, 143
see also Gleaners and I, The; To WalkNext to One’s Shoelaces in anEmpty Fridge; Tomorrow WeMove; L’Île et Elle
serial repetition, 85–6, 154sexual violence, 63, 190–1, 192, 193,
202, 203, 208, 215, 216silence, 54, 59, 60–1, 93–4, 96, 97–8,
99, 104, 105, 115, 127, 138–40,160–1, 163, 171–2, 174, 191, 199,224
Silverman, Kaja, 42, 44, 241–2, 243skin, 119–20, 122, 167, 173, 197, 218,
223smoking, gesture of, 157, 162, 166Sobchack, Vivian, 7, 10, 30–1, 43,
61–5, 100, 105, 201, 205, 213,232, 234, 240–1, 243–4
Sombre, 18, 33, 189–92, 193–4, 199,213–28, 229–30
270 Index
soundacousmatic. see acousmatic; Chion,
Michelnon-vocalic. see space, vocalic;
Chion, Michelspace
temporalised, 5, 17, 107, 124, 129,133, 136, 141–2, 184, 238
virtual, 84, 108, 133, 140vocalic, 91, 94–5, 100, 104, 105; see
also acousmatic; Chion, Michelspectators, 30, 38, 41–2, 44–5, 63, 76,
85, 94, 98, 122–3, 131, 132,137–9, 141, 144–5, 153–4, 156,168, 176–8, 181–2, 188, 198, 199,217, 224, 229, 238
spectatorship, 9, 44–5, 73, 130, 139,178, 224
see also spectators;observer-participants
spectre. see Derrida, Jacques, conceptof the spectre
split screen, 152, 172, 174Stiegler, Bernard, 136–7, 178Stilwell, Robynn, 97–8subjective
embodiment. see subjectivity,embodied
relationality. see subjectivity,relational
temporality, 6, 22–3, 32, 72–3, 84,87, 105, 107, 130, 232
subjectivityauteurial, 70, 121, 204; see also
auteur, figure of; auteur, auteurtheory
cinematic, 3–9, 10, 12, 16, 18, 20,23, 31–3, 35–6, 38–9, 45–6, 52,62–6, 67, 77, 92, 100–1, 104–8,111–12
embodied, 7, 31, 53–67, 94, 195female, 89, 113, 143, 146, 158, 162,
197, 200and intersubjectivity, 8, 9, 19, 52,
146, 167, 170, 241problem of definition of, 18–19,
234–5relational, 17, 19, 90, 118, 120, 122,
127, 141
subject-object relations, 44, 66, 144,231; see also objects, relational;relationality; subjectivity,relational
Sunless, 16, 69, 92–100, 104, 105–6,115, 235, 241, 242
synthesiserMOOG sound, 99–100Spectron image, 99–100
temporalised space, 5, 107, 124–42see also virtual and actual spaces,
concept oftemporality, 2, 4–7, 16, 20, 21–67,
70–3, 84–90, 105–6, 107–9, 126–7,130–3, 136, 167, 183–4, 188, 213,229, 231–2
cinematic, 6, 16, 23, 28, 30–6, 86,90, 106, 167
and duration, 5, 22, 24–6, 28–36,73–4, 84–8, 91, 97, 175–81, 183,234, 242
and movement. see movement; film,and dynamism
and presence. see presence, andtemporality
see also duration; subjective,temporality
Testud, Sylvie, 148, 153, 158–63,165–7, 174, 236
texture, 52, 57–8, 86, 119, 163, 173,186, 211, 213, 226
thick description, 17, 33, 45, 61–2,182
thinking with, 3–5, 15, 19, 33, 38, 67,93, 106, 108, 114, 122, 151–2,169, 187–9, 232, 235
thinking through, 3–5, 23–4, 35, 38,46, 66–7, 108, 168, 203, 211, 219,244
time, cinematic, 5, 22, 74, 83–5Time-Image, The. see under Deleuze,
GillesTombeau de Zgougou. see Zgougou’s
GraveTomorrow We Move, 10, 17–18, 46,
144–5, 147, 150, 152–68,180, 185
Index 271
To Walk Next to One’s Shoelaces in anEmpty Fridge, 18, 46, 145, 152–5,168–75, 183–6
trace, concept of the, 5, 16, 29, 35,37, 48, 59–61, 69, 82, 92, 94,104, 136–7, 192, 212,235
Une chante, l’autre pas, L’, 14unknowability, 113–16, 119,
120, 141, 188, 236, 241–2,243
Un Lac, 189–90, 193Unthinking Eurocentrism,
150Usai, Paolo Cherchi, 12utopia, critical, 109, 131, 133–4, 136,
142
Vagabond, 109, 113–16, 123Varda, Agnès, 5, 14, 17, 33, 37, 38, 46,
52, 64, 72–3, 107–42, 144, 146,188, 235–7, 240–1
Vaudeville, 155Veuves de Noirmoutier, Les. see Widows
of Noirmoutier, Thevideo, 10, 11, 51, 65, 99, 145, 177–9,
236video, analogue, 100–1
see also Sunlessvideo, digital, 7, 10, 69, 101, 117,
124–7, 132–50see also Gleaners and I, The; Zgougou’s
Grave; Gois Causeway, The;Widows of Noirmoutier, The; ToWalk Next to One’s Shoelaces inan Empty Fridge
Vie nouvelle, La, 18, 33, 187–216, 222,227, 228–30
virtual and actual spaces, concept of,15–17, 27–8, 80, 82–3, 91, 104,107, 128–32, 133, 136, 140–2,177, 184, 188, 195, 234–9
visibility, 1, 30–1, 42, 56–8, 62, 100,137, 160, 164, 165, 185, 217, 218,225, 231, 243
and invisibility, 1, 56–8, 60, 62,94–5, 99, 100, 137, 163, 191,196, 235
Visible and the Invisible, The, 56–8, 62,137, 196, 235
see also under Merleau-Ponty,Maurice
vococentrism, 98see also Chion, Michel; acousmatic;
space, vocalicvoice, 5, 7, 16, 44, 59, 69–71,
91–9, 100–6, 107, 111, 113,115, 116–17, 140, 163, 165, 172,195, 231, 242
authorial, 69, 91–9, 104–6, 111, 113,121, 148, 235
cinematic, 91narrative, 76, 82, 84, 88,
92, 96voiceover, 16, 37, 74, 76, 82, 83,
85, 87, 92–105, 116–17,119, 235
wargus, 222, 225, 228see also wolf-man
widows, 125–7, 136–40, 156Widows of Noirmoutier, The, 125–7,
136–40wolf-man, 220, 222–3,
225–6
Zgougou’s Grave, 131, 133–6, 137zoe, 221
