Quelques observations sur la patine au cinéma.: le cas de Arnulf Rainer de PeterKubelka

• Autores: Enrico Camporesi
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 328-334
• Idioma: francés
• Texto completo no disponible (Saber más ...)
• Resumen

  • Peter Kubelka’s classic experimental film Arnulf Rainer (1958-60) is usually considered the first “eternal” film in thehistory of cinema. As it is often said, it appears more like a musical score (a fugue) rather than a cinematographicwork. Following a precise scheme of black and transparent frames coupled with either a fully saturated or blanksoundtrack., the film can be recreated exactly as it is was conceived in order to make a new print, without havingto resort to any other material (such as the negative, first generation positive prints, etc.). And yet, even if itsnature seems only conceptual, the filmmaker has revisited his work with a slightly different thinking. Stimulatedby the questions of Jean-Claude Lebensztejn, Kubelka began to examine the role of dirt and dust that inevitablyaccumulates on the transparent film leader. While operating the projector, he would occasionally focus on thismaterial deliberately. Then again, the film bears the sign of the passing of time, and these elements can not beremoved without consequences. The problem is not new in art history, especially when dealing with restoration: it isthe problem of the patina for aged paintings. Applying this notion (particularly the one elaborated by Cesare Brandi)to film can be a potential starting point for considering the peculiarity of Kubelka’s Arnulf Rainer.