Costi Rogozanu, VoxPublica , January 18, , http: Bazin pleaded for a cinema that would make the viewer confont the events and characters on-screen in the same way in which she has to face the people and the events that she comes across in her own life: These are future directors and critics who championed what was called la politique des auteurs, a romantic cult of a series of directorial personalities understood in terms of genius. In some interviews, Puiu has seemed to acknowledge the religious grounding of the filmmaking principles he upholds. But Mungiu keeps this interpretation from becoming the dominant one; he strategically weakens the grounds for it. The interview in The Fader is just one of the interviews in which Mungiu uses this word.
In some interviews, Puiu has seemed to acknowledge the religious grounding of the filmmaking principles he upholds. According to this view, modernity had turned artistic creation into a sin against divine creation. University of California Press, , As Annette Michelson and others have pointed out in the case of Bazin, the basis for this understanding of cinema is religious: It was a possibility that Bazin only caught glimpses of in scenes from certain films—especially those made by the Italian neorealists, specifically Roberto Rossellini—and that he saw as destined to be fulfilled sometime in the future. This self-reflexive tendency was noticeable in other films besides Aurora. What happened in general was that everyone tended to take from the film—while praising Mungiu for his objectivity—only what matched his or her preexisting way of understanding the world.
Hence our being lumped together. Hill and Wang, According to this view, modernity had turned artistic creation into a sin against divine creation.
As Maier puts it, the cinema is the mediator of the encounter between the viewer and that original truth. It could be an instrument of that original truth if used in a certain way: Mud spreading on the glass, obscuring the vista ganduui Romanian provincial urban life outside, both functions as a curtain-closer and comes with a metaphorical whiff.
The Dardenne brothers stated their affinity for the type of cinema being made in Romania by people like Puiu and Cristian Mungiu—for example, on the occasion of a visit to Romania, covered by journalist Iulia Blaga for Hotnews.
Apart from the social determinism, there is also a hint of genetic determinism: By not putting on the character a definite psychiatric diagnosis, Mungiu leaves room for another possible interpretation. The latter interpretation stresses the fact that the film is full of well-meaning characters: The truth here is the truth resulting for each viewer from the encounter with those slices of reality which the camera itself had captured as neutrally as possible.
At the time of his international film-festival sensation, The Death of Mr. This work is licensed under a Creative Commons Attribution 3. By contrast, it can be interpreted as a basic feature of competent dramatic construction where the writer introduces first impressions only to subsequently contradict them in ways that call viewers to understand the priest as more reasonable than originally thought.
Bazin pleaded for a cinema that would make the viewer confont the events and characters on-screen in the same way in which she has to face the people and the events that she comes across in her own life: Such disgust translates into a refusal to understand cinema in political terms.
For Bazin, the film medium—that implacable agent of secularization — could paradoxically work to reveal that original truth, usurped by the assertive subjectivity of the modern artist. Another source may have been his encounter with Bazinian ideas about the cinema, an encounter hard to avoid for a student whose BA thesis investigated some of the theoretical issues involved in matters of cinematic realism. And, while the film makes it impossible to be sure that the orphan turned nun is sincerely and profoundly religious, it also makes it impossible to be sure of the opposite.
Still, Romanian directors did not question filmmaking from a particularly political angle. Most notably among them, Danish filmmaker Lars von Trier and the Belgian team of brothers Luc and Jean-Pierre Dardenne gained prominence in the second half of the s.
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More recently, on October 28,in an online interview with readers of the Romanian web platform Hotnews, Mungiu wrote: It is not Mungiu but his critics who decided that, in the case of the written exhortation to believe and not try to understand hanging at the entrance of the monastery, the first impression namely, that the monastery people are completely unreasonable is meant to be decisive.
This is also what Maier says: In some interviews, Puiu has seemed to acknowledge the religious grounding of the filmmaking principles he upholds. Just as in real life, the viewer should be forced to guess at the subjective realities of the people on-screen only from the more or less ambiguous clues provided by their speech and appearance.
They make observation lead too easily to comprehension. If he had done otherwise, it would have meant that the material presented to us viewers was pre-judged by him. Volume 41Issue 2: For more information please contact mpub-help umich. For more information, read Michigan Publishing’s access and usage policy. That style has consisted in a no-comment presentation of the events, whereas this is a conspicuous intervention.
It also leads to a compensatory fetishization of a moral vocabulary of cinema. As Annette Michelson and others have pointed out in the case of Bazin, the basis for this understanding of cinema is religious: Although Bazin proposes a pantheon of directors Murnau, Flaherty, von Stroheim, Renoir, Welles, Rossellini and othersmostly accepted by his younger colleagues, the Bazinian conception of film history is not one in which the course of history is dictated by the personalities of these filmmakers.
The door discovers you. Expressing regret that the Romanian reception of the film was stuck at the level of talk about the local health system, Puiu repeated again and again that the film dramatized a larger, eternal issue: An observational use of the camera would put viewers in touch with that transcendental truth. New Romanian CinemaOctober Costi Rogozanu, VoxPublicaJanuary 18,http: Among other things, he was accused of stigmatizing his clerical characters even before introducing them by letting the viewer form a first impression of them from a warning note hung at the entrance of the monastery—a note explicitly encouraging blind belief.
Дальневосточный фотофорум 4 1/2: итоги
What happened in general was that everyone tended to take from the film—while praising Mungiu for his objectivity—only what matched his or her preexisting way of understanding the world. Not to comment, not to take sides politically. London, Routledge,8. Harvard University Press, The good films are those by directors who wonder about things and invite you to wonder with them, while the bad films are those of directors who explain to you how things are.
But the human brain needs comfort, and so it needs to group things in categories.
Peste Noapte: Bula si P*ul*a 🙂
Observational documentaries influenced many directors of fiction films. We surely talk about two different ways of understanding art. Please contact mpub-help umich. His study handului the New Romanian Cinema, Lucruri care nu pot fi spuse altfel: These are future directors and critics who championed what was called la politique des auteurs, a romantic cult of a series of directorial personalities understood in terms of genius. The film could be described as an imaginary observational documentary following the obscure comings and goings through Bucharest of an obscurely troubled citizen rilm over 30 hours, during which he kills four people.
He can have at the same time the sensationalism and the praise for impartial sobriety.