Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

The Exquisite Corpse of History. Radu Jude and the Intermedial Collage

The Exquisite Corpse of History. Radu Jude and the Intermedial Collage AbstractThe article argues for the relevance of intermediality in the interpretation of Radu Jude’s films made after 2016: The Dead Nation (Ţara moartă, 2017), I Do Not Care If We Go Down in History as Barbarians (Îmi este indiferent dacă în istorie vom intra ca barbari, 2018), The Marshal’s Two Executions (Cele două execuţii ale Mareşalului, 2018), To Punish, to Discipline (A pedepsi, a supraveghea, 2019), The Exit of the Trains (Ieşirea trenurilor din gară, 2020), Uppercase Print (Tipografic majuscul, 2020), Bad Luck Banging or Loony Porn (Babardeală cu bucluc sau porno balamuc, 2021). Instead of framing Jude’s aesthetic in terms of the Eisensteinian montage, as many reviewers have done, the article addresses the way in which these films insist on the tensions between media, on creating an ontological collage, not only a cinematic montage. The collage effect of the films materializes in sensuously and intellectually layered permutations that connect different media and shares some traits with the Surrealist play of the cadavre exquis. The mixture of heterogeneous materials becomes a strategy (informed by the ideas of Walter Benjamin) to reflect on history in the conditions of postmemory as well as a way to explore the relationship between media and reality through various positions of spectatorial engagement and the affective metalepsis between reflexivity and immersion.1 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Acta Universitatis Sapientiae, Film and Media Studies de Gruyter

The Exquisite Corpse of History. Radu Jude and the Intermedial Collage

Download PDF
65 pages

Loading next page...
 
/lp/de-gruyter/the-exquisite-corpse-of-history-radu-jude-and-the-intermedial-collage-ppGvn4SsbU

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
de Gruyter
Copyright
© 2022 Ágnes Pethő, published by Sciendo
eISSN
2066-7779
DOI
10.2478/ausfm-2022-0003
Publisher site
See Article on Publisher Site

Abstract

AbstractThe article argues for the relevance of intermediality in the interpretation of Radu Jude’s films made after 2016: The Dead Nation (Ţara moartă, 2017), I Do Not Care If We Go Down in History as Barbarians (Îmi este indiferent dacă în istorie vom intra ca barbari, 2018), The Marshal’s Two Executions (Cele două execuţii ale Mareşalului, 2018), To Punish, to Discipline (A pedepsi, a supraveghea, 2019), The Exit of the Trains (Ieşirea trenurilor din gară, 2020), Uppercase Print (Tipografic majuscul, 2020), Bad Luck Banging or Loony Porn (Babardeală cu bucluc sau porno balamuc, 2021). Instead of framing Jude’s aesthetic in terms of the Eisensteinian montage, as many reviewers have done, the article addresses the way in which these films insist on the tensions between media, on creating an ontological collage, not only a cinematic montage. The collage effect of the films materializes in sensuously and intellectually layered permutations that connect different media and shares some traits with the Surrealist play of the cadavre exquis. The mixture of heterogeneous materials becomes a strategy (informed by the ideas of Walter Benjamin) to reflect on history in the conditions of postmemory as well as a way to explore the relationship between media and reality through various positions of spectatorial engagement and the affective metalepsis between reflexivity and immersion.1

Journal

Acta Universitatis Sapientiae, Film and Media Studies – de Gruyter

Published: Jul 1, 2022

Keywords: Radu Jude; affective intermediality; postmemory; collage in film; photography and cinema

There are no references for this article.