Marcel Proust’s «A la recherche du temps perdu» and Jean-Luc Godard’s «Histoire(s) du cinéma»
This study offers a new approach to film-philosophy scholarship by embracing the cinematic as an inspiring channel through which to rethink not only our relationship with film but also with literature and, potentially, with art at large.
Conclusion In my introduction I suggest that the processes integral to cinematic creation and to the experience thereof – which, quite simply, involve the technique of placing images side by side and the resulting impression of movement in time and space – is demonstrative of my approach to A la recherche and Histoire(s) du cinéma. Cinema functions as a formal intermediary for Proust’s novel and Godard’s video, which necessitates a movement between forms that compares to cinema’s movement between images – in both cases the notion of the ‘between’ (of images, spaces, times, forms) is fundamental to the production of meaning. What is discovered is that montage – which best designates this process of placing images into meaningful sequences – is more conceptually f luid than its strictly cinematic definition suggests. That is to say, it can be used to describe the superimposition of images as well as the metonymic sequencing of images that extends horizontally through space and time. The complex inscription of sound onto the film image further problematizes the simplicity of this definition as montage becomes entwined with cinema’s sonic aspect. The initial understanding of the notion of cinematic movement expands, then, as this study progresses, and so too does the approach adopted, which nonetheless continues to ref lect the formal imperatives of cinema, and particularly those of mon- tage. For not only do these analyses use cinematic theory and philosophy as intermediaries, but they superimpose such approaches onto those drawn from literature and new media theories, thus demonstrating the...
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