Jean-Louis Comolli (born 30 July ) is a French writer, editor, and film director. He was editor in chief of Cahiers du cinéma from to , during which period he wrote the influential essays “Machines of the Visible” () and “Technique and Ideology: Camera, Perspective, Depth of. One does not see so many references to Jean-Louis Comolli these days, which is a shame since the influence of the former editor of the. 16 Jean-Louis Comolli: ‘Technique and Ideology: Camera, Perspec- tive, Depth of Field’ (May-June and July ). 17 Pascal Bonitzer: “Reality” of Denotation’.

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His extensive use of these punctuation marks provides a sense of his larger intellectual position: Translated by Christopher King.

ajd This film focussed on the manner in which the vocabulary of the Front national had come to be used by all the political parties in Nice during these regional elections. As we filmed, we also listened to the speech of our interlocutors.

I think this discussion leads us to speak about what I consider to be your masterpiece, the grand series on politics in Marseilles which you made, along with Michel Samson, between and and which is now available in a DVD boxset titled Marseille contre Marseille. A process of repression took place: When you film a documentary, you film everything, the entire subject: I forgot, or repressed, all the theorico-practical or practico-theoretical considerations which I had formulated in the preceding years, and which proved my value as a film theorist.

All these actors — who were excellent, by the way — had other things to do, they were in the theatre, or what have you. So the question is posed of the tension between the group and the individual. So, this is what, today, makes me believe more in the fictions which tell us about documentary characters than in the fictions which tell us about characters played by actors.


This is the sense in which the issue of speech in the cinema is very important, because to film speech is to film a presence in motion.

Knowledge, connaissanceis also a form of co-birth, co-naissance. Principles of Art History: I had already filmed the Front national in Tous pour un: Get fast, free shipping with Amazon Prime. Our major reference point, more than Mao, was Althusser, who had elaborated the notion of theoretical practice.

Cinema Against Spectacle : Jean-Louis Comolli :

In the case of La Cecilia this was also the case, but not so much, as the weakness of the person who was supposed to be director was so obvious that the troupe began to have a party as much as they were making a film.

But, on the other hand, it can not be entirely repressed, no matter how much you want it to be. Something has managed to be transmitted from the conditions of production of the film to the finished product, the film we can see. Refreshingly, he has never sought to repudiate his radical past, but, rather, he still lives and works with the achievements and contradictions that marked this period. Of course, while the two sides of this dispute are currently emblematised by Godard and Lanzmann, this controversy dates back to Adorno.

So a whole series of elements ensures that making documentary films is a simplified practice when compared with fiction filmmaking.

To put it bluntly, it is a matter of bringing the subject into the work, and perhaps the cinema, along with music, is the art form which most allows for this passage from the external to the internal to take place. There is a challenge here. And the question of belief is posed very starkly. I was pretty much infused with this. Techhique like to fechnique this book on Kindle Don’t have a Kindle? The Redemption of Physical Reality.

On Practice and Contradictioned. The idea was modelled on the philosophical ideologyy of the stroll. So a certain suspicion was raised with regards to Michel Pezet, and the struggle for the succession became a tragic combat, which, with its intrigues, conspiracies and family feuds, was practically Shakespearian.


Firstly, there is the duration of the filming, which has the effect of annd up time, the time to ask questions, to dwell on issues, and come back to them later.

At the same time as there is a continuity between your time at Cahiers and your experience making La Ceciliathere is also a rupture. Nor in the sense that the evidence of this experience was lacking — it was amply documented. It was out of the question to techhnique the role an actor would play, or to change the schedule around, or anything like that.

And so we made the decision — this is one of the strengths of documentary filmmaking — to change course and begin a new film. I did not renounce making fiction films after this, and I have made a ideoloyg since that time. AmazonGlobal Ship Orders Internationally.

Jean-Louis Comolli

Once you have actors playing someone other than themselves, then by definition iveology does techniqud have the same force. The structure of Marseille en mars was based on long strolls with the various figures involved in the campaign, with lateral tracking shots alternating between politicians and journalists. In this regard, we were perfectly unengaged. For a while, making films replaced writing about films.

Secondly, you give politicians an ample amount of time to express themselves, which television does not do. I believe in the characters, I believe in the situations.