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Autori: MARION POIRSON-DECHONNE.
VIEW PDF: LE FANTÔME DE LA LIBERTÉ, RÉSURGENCES DADAÏSTES, D’ISOU À GREENAWAY
The Phantom of Freedom, Dadaist Resurgences, from Isou to Greenaway. The dadaism tried to free the art by inventing new forms. What does it remain today? We shall identify the tracks of its influence on three axes. The first one lies in the demolition of the cinematic text, in deconstruction, as the fragmented stories of Raoul Ruiz’s movies, the visible editing of the movies of Peter Greenaway, the separation of the image and sound on the films of Isidore Isou, whose political thought influenced Guy Debord, show us. This director showed that we live in a world of representation. The modern man is victim of alienation. The second one resides in the hybridization of various arts: in this respect, the spectator can find theatricality and picturality in the films of Greenaway and Ruiz. The third one presents new forms of spirituality, like the iconoclasm of the films of Raoul Ruiz, or the esotericism of Jodorowsky. These directors show the spectators that they were manipulated and invite them to return to reality, with the aim of changing the world.
Keywords: Dadaism, to free, deconstruction, political thought, criticism, dissociation, dislocation, iconoclasm, theatricality, picturality, hybridization, happening, performance, desembodiment, dream, provocation.
References:
Baltrusaitis Jurgis, Anamorphoses ou perspectives curieuses, Olivier Perrin, 1955.
Dachy Marc, Dada et les dadaïsmes, Paris, Gallimard, « Folio essais », 1994 et 2011.
Debord Guy, La société du spectacle, Paris, Buchet-Chastel, 1967.
Ribemont-Dessaignes Georges, présenté par Jean-Pierre Begot, Dada, nouvelle édition, 1994.
Ruiz Raoul, Poétique du cinéma 1, Dis Voir, 1995.
Amiot Anne-Marie, « Georges Ribemont-Dessaignes, du nihilisme dada au dithyrambe dionysiaque », in Noésis, téléchargé le 2/2/16.
Plassard Didier, « Creuser l’écran, Quelques marques de la théâtralité dans Mémoire des apparences de Ruiz et Prospero’s Books de Greenaway », in Béatrice Picon-Vallin, Le Film de théâtre, Paris, CNRS Editions, 1996.
Published Online: 2016-03
References:
Baltrusaitis Jurgis, Anamorphoses ou perspectives curieuses, Olivier Perrin, 1955.
Dachy Marc, Dada et les dadaïsmes, Paris, Gallimard, « Folio essais », 1994 et 2011.
Debord Guy, La société du spectacle, Paris, Buchet-Chastel, 1967.
Ribemont-Dessaignes Georges, présenté par Jean-Pierre Begot, Dada, nouvelle édition, 1994.
Ruiz Raoul, Poétique du cinéma 1, Dis Voir, 1995.
Amiot Anne-Marie, « Georges Ribemont-Dessaignes, du nihilisme dada au dithyrambe dionysiaque », in Noésis, téléchargé le 2/2/16.
Plassard Didier, « Creuser l’écran, Quelques marques de la théâtralité dans Mémoire des apparences de Ruiz et Prospero’s Books de Greenaway », in Béatrice Picon-Vallin, Le Film de théâtre, Paris, CNRS Editions, 1996.
Published Online: 2016-03
