By Georges Didi-Huberman
L. a. figura del poeta y dramaturgo Bertolt Brecht sirve de guía a Georges Didi-Huberman para mostrar las encrucijadas de l. a. estética del siglo xx, germen de los problemas del arte genuine. Guerra, exilio, vanguardias estéticas, compromiso político y nacimiento de l. a. industria cultural, Cuando las imágenes toman posición presenta las preguntas clave de novelistas, poetas, filósofos y artistas acerca del lugar de l. a. imagen y los angeles imaginación en un mundo convulso.
«Un documento encierra al menos dos verdades, los angeles primera de las cuales siempre resulta insuficiente.»
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Extra info for Cuando las imágenes toman posición
Thus, the control or appropriation of locations is minimized to the body’s transitory movements, its temporary positions, and its physical extension in space. ”15 More precisely, the strong effects of the radically separated protagonist stem from the hyperkinetic hand-held camera’s embodied perspective and its arbitrary glimpses. 16 The interplay of mise en scène and camera work might best be described as an ongoing exploration of spaces—of habitual practices, architectural structures, physical movements and sites of encounter.
Von Trier’s use of mobile framing becomes evident in a scene that begins in the film’s fiftyninth minute. As the scene unfolds, the camera moves closer to the character, thereby restricting the onscreen space. When she discovers that her savings have been stolen, her face and her hands, which fruitlessly feel for the money in the metal case, are visible in close-ups. Within this long take, either the character’s face or her hands come into view, due to the shot’s intimate framing. Further, the tilting movement yields the impression that it indicates the character’s lacking eyeline and registers— or replaces—it by impulsively moving between her hands and her eyes.
14 Both figures revolt against the position they have initially occupied in this interplay of forces. They counter the capitalist economy of exploitation with an economy of overexertion that becomes evident in their behavior and affects the web of relationships in which all figures in the film are more or less caught up. These figures and spaces are also associated with each other: numerous complex economic and emotional relations exist between the female workers in the factory, the employees of the hotel and the ensemble of actors and actresses, technicians, director and producer making an ambitious TV movie in a nearby hall—relations manifesting themselves in various series of conflicts.
Cuando las imágenes toman posición by Georges Didi-Huberman