Wed. April 17th 2017 at 7:00pm
FAMU, Smetanovo náb. 2
Room U1, 1. floor
(lecture will be simultaneously translated into English)
The medium of film has entertained a most complex relation to time from its early beginnings onward: film promised to [re]present temporal dynamics – and the temporality of things – directly, unmediated, a paradox that gives rise to the different strategies of what Gilles Deleuze calls the movement-image and the time-image respectively. Such a representation, however, is not only an effect of a perceptive illusion, but also of the repression of the very materiality of film itself. If such an interest in the possibilities of the celluloid had already driven much of the 60s avant-garde [Brakhage, Jacobs, etc.], Bill Morrison’s Decasiain addition does not only focus on film’s ‘thingness,’ but also its own, particular ‘temporality.’ Put together from found footage and archive material in various states of ‘dying,’ this film reveals the ‘collaboration’ of time and matter as in itself ‘creative’: here, time and matter produce their own filmic image.
Bernd Herzogenrath is professor of American literature and culture at Goethe University of Frankfurt/Main, Germany. He is the author of An Art of Desire. Reading Paul Auster (Rodopi 2001), An American Body|Politic: A Deleuzian Approach (Dartmouth College Press 2010) and editor of two books on Tod Browning, two books on Edgar G. Ulmer, two books on Deleuze and Ec
ology, The Farthest Place: The Music of John Luther Adams (Northeastern UP 2012), Time and History in Deleuze and Serres (Continuum 2012), media|matter (Bloomsbury 2014) and, most recently, Film as Philosophy (U of Minnesota P) and sonic thinking (Bloomsbury). At the moment, he is planning a project, cinapses: thinking|film that brings together scholars from film studies, philosophy, and the neurosciences (members include Alva Noë and Antonio Damasio).