Class Cinematographic Aesthetics

Cinematographic Aesthetics addresses the formal issues of cinema, allowing to determine its specific difference in relation to cinematography, which is markedly modern. It is interesting to note that despite the crisis of modernist aesthetics, alternative cinematographic aesthetics have been proposed, ranging from Bazin to Godard or Kluge, from Cavell to Badiou, as well as mentioning Agamben, Foucault, and Casetti, among many others. As cinema is an art of contamination and revisitation, aesthetics without being able to resort to film theory, the different histories of global cinema, and the political and ethical effects of film studies, allows us to determine some of the essential categories of the filmic phenomenon, its relationship with contemporary art and the operations that characterize it.

Introduction: Trajectories of modern art

Part I. Cinema and Art
1.1 Crisis of Aesthetic Modernity and the emergence of cinema

1.2. Modernity, Cinematography and Cinema

1.3. Is cinema an art?

1.4 Cinema operations: from montage to constellation

1.5 What is expanded cinema?

Part II. film arts

2.1 A poetic device

2.2 Cinema and thought

2.3, The third look: Camera

2.4 Cinema as an art Political or cinema and real

Part III A genealogy of global cinema:

3.1. Walter Benjamin's Film Theory

The learning process is accompanied by guided selective readings, monographic studies exemplifying the different aspects of the programm and the guidance of individual papers through periodic discussion.

Alain Badiou «The false movements of cinema» in Badiou, Handbook of Inaesthetics, Stanford University Press, 2004

Andrew Uroskie, “Rethorics if expansion” in Between the Black Box and The White Cube, University   of Chicago Press, Chicago, 2004.

François Albera & Maria Tortajada: “The 1900 Episteme” in Cinema beyond film, Amesterdam UP, 2010.

Godard/Pelechian « Un langage d'avant Babel », conversation entre Artavazd Pelechian et Jean-Luc Godard, Le Monde 2 avril 1992.

Leo Charney & Vanessa R. Schwartz (ed), Cinema and the Invention of Modern Life, Berkley, University of California  Press, 1996.

José Bragança de Miranda: Fotografiia e arqueologia di materialismo (2019)

Jacques Rancière: Introduction to Film Fables, Berg, NY, 2006

Oksana Bulgakowa, “From stage to brain: Montage as a new principle of scientific narrative” in Sign Systems Studies 41(2/3), 2013, 200–218.

Miriam Bratu Hansen, Cinema and experience : Kracauer, Waler Benjamin, and Adorno, University of California Press, 2013