Sunday, March 28, 2010

Rancière, and so on

At this moment I'm reading Jacques Rancière's The Future of the Image. It's just the beginning. It's too early to try to summarize what he says, but so far he is talking about complexity of the image. When we see, for example, the beginning of Bresson's Au hasard Balthazar, we primarily see the cinema's operations, rather than the donkey and the children appearing in it, he says. And such operations are not peculiar to cinema, but have a similarity to, for example, Flaubert's literature. Image works on two levels:producing "the likeness of an original;" producing "an alteration of resemblance." What Bresson's cinema shows itself as an interplay between "the sayable" and "the visible"  is an exemplary of the latter. "An alteration of resemblance" can be paraphrased as a  discrepancy or a dissemblance. Rancière sees this alteration is the imperative of today's art, and this imperative appears to lead artists to renounce the visible or to take an approach that literature does. But, this dialectic can be false, he explains: "what is contrasted with resemblance is not the operativeness of art, but material presence, the spirit made flesh, the absolutely other which is also absolutely the same."

Here's my poor operation:



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