By Nenad Jovanovic
In Brechtian Cinemas, Nenad Jovanovic makes use of examples from decide on significant filmmakers to delineate the diversity of how during which Bertolt Brecht's idea of epic/dialectic theatre has been followed and deployed in overseas cinema. Jovanovic seriously engages Brecht's rules and their so much influential interpretations in movie stories, from gear idea within the Seventies to the shortly dominant cognitivist strategy. He then examines a extensive physique of movies, together with Brecht's personal Mysteries of a Hairdressing Salon (1923) and Kuhle Wampe (1932), Jean-Marie Straub and Daniele Huillet's History Lessons (1972), Peter Watkins's La Commune (2000), and Lars von Trier's Nymphomaniac (2013). Jovanovic argues that the function of montage--a relevant resource of inventive estrangement (Verfremdung) in past Brechtian films--has reduced a result of technique's conventionalization by way of trendy Hollywood and similar industries. working as basic brokers of Verfremdung in modern movies encouraged through Brecht's view of the realm and the humanities, Jovanovic claims, are conventions borrowed from the most medium of his expression, theatre. Drawing upon an unlimited variety of assets and disciplines that come with cultural, movie, literature, and theatre reviews, Brechtian Cinemas demonstrates a persevered and vast relevance of Brecht for the perform and figuring out of cinema.
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Extra resources for Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars Von Trier
Brecht’s oeuvre has nothing to do with cinema. ] —Bernard Dort • B recht’s prolific literary output includes poems, short stories, novels, and journals, in addition to dozens of plays. Blurring the low art / high art dichotomy well before the advent of postmodernism, he also embraced the proliferating mass media as his expressive outlets. Among the results of such ventures are his recordings of some of the Kurt Weill–composed songs for which he was the lyricist, and the rhymes for an automobile newspaper ad.
Stevenson and Rimbaud use “the filmic optic” (Werke 21, 107) (thereby promoting the questionable notion of cinema’s origin as a teleology). The majority of Brecht’s texts on cinema focus on particular films and film projects, several of which are screen adaptations of Brecht’s own plays. One such film, G. W. Pabst’s Die Dreigroschen Oper (The Threepenny Opera, 1931), caused Brecht and Weill—the composer of the original score—to file a lawsuit against the production company for its failure to protect the integrity of the artists’ work (Silberman, Brecht on Film 147).
Finally, Heath establishes a link between the Freudian-Althusserian parable of the processes underlying dominant (mainstream) cinema and the project of counter-cinema theory and practice through a passing reference to fetishism as a concept in Karl Marx. The Marxist aspect of the reform of cinema that he calls for further manifests itself through the resonance between the eleventh of Marx’s “Theses on Feuerbach” (“the point is to change the world”) (qtd. in Heath 110) and an argument from the article’s final segment, that “the real work is the attempt at a ceaseless transformation [of cinema]” (126).