Farocki/Godard: Film as Theory (Amsterdam University Press - Film Culture in Transition)

This book brings together two major filmmakers—German avant-gardist Harun Farocki and French New Wave master Jean-Luc Godard—to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create “film as theory.” This Book Brings Together Two Major Filmmakers-french New Wave Master Jean-luc Godard And German Avant-gardist Harun Farocki-to Explore The Fundamental Tension Between Theoretical Abstraction And The Capacities Of Film Itself, A Medium Where Everything Seen Onscreen Is Necessarily Concrete. Volker Pantenburg Shows How These Two Filmmakers Explored The Potential Of Combined Shots And Montage To Create 'film As Theory'--back Cover. Introduction: Two Image Researchers -- 1.le Film Qui Pense: Image, Theory, Practice -- Film As A Concrete Medium -- Film Theories / Film As Theory -- Difference And Theory -- Montage And Cinematic Thinking -- 2.the Camera As Brush -- Film And Painting: Narrating With Images: Breathless -- Exploding The Museum: Pierrot Le Fou -- Arranging Things: Still Life -- Processing Images: Passion -- 3.deviation As Norm -- Notes On The Essay Film -- 4.cut -- Interlude In The Editing Room: What An Editing Room Is: Interface -- Montage, Toujours: Jlg/jlg -- 5.taking Pictures -- Photography And Film: Displacing: The Carabineers -- Rendering: Before Your Eyes Vietnam -- Surveying: Images Of The World And The Inscription Of War -- 6.two Or Three Ways Of Speaking With The Hands: Asking Oneself: La Chinoise / Vent D'est -- Offering Oneself: Nouvelle Vague -- Wxpressing Oneself: Georg K. Glaser / The Expression Of Hands -- Conclusion. Volker Pantenburg ; Translated By Micheal Turnbull. Originally Published As 'volker Pantenburg, Film Als Theorie. Bildforschung Bei Harun Farocki Und Jean-luc Godard', Transcript Verlag, 2006 --t.p. Verso. Includes Bibliographical References (pages 263-275) And Indexes. Includes Bibliographical References (pages 263-274) And Index. There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking. This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create "film as theory."