live thats lange pole to opin dnc cna as an cxrceie Lnguage sith at least taking Inte consnctaom ‘te tempo of seme. Quite simply the problem thie ‘ale near Langues base their ptr im eh tvutonas Premise of wale sestaentalised lanes the comm me Eon ot all pears, cnematorape languages scm to Be ed fm noching oval they do tot ave se premise ny sam eit Lanett. Litas languass this hate a onmeae let Inncy ss instruments pure and sitope instrumental whieh on fact serve to communica Cincmacegaphic communication ‘rout stad een en Be arbteay and serum, wtbous che cm {rete nutumeneal precedents wht ave pally eed By aI ther words people communicate with won, elas, ete fovea specie Language images Would seem to bea pure a sual sbtacti, Tete rnsoming were conc. woul appear to bs cinema would simply no ext; or Hit did, wal Re a rato Series of meaniglen sans. Instead, cinema docs communica Thur mane that, tos so oma patrimony common signs Soniotcs como stan systems withaut dsrentatin among hem it apes sf "yates ot hte ag, for stale, tse they exist ue this dacs nor exclude stall the theories psy chat there may be ether syatin of sigis—tor example ystems of enturl signs Ava matter te the sal woe es tually necessary co svoke system of gestural ss eo comple tent the spoke angus in fat, t word lip or Language sign) spoken with acest facial expression has one meaning. spoken with another expession ‘elas anor meananepsbly Atul Ws cpponte Le assume that iets a Neapolitan who is speaking @ word followed by one store as one meaning followed by anor gestae haanoeer rmesning et Tis system of estat igs” that actual el communieaion| tsintermoven with an completes the vse of guste as can te toatl undes laboratory conditions and sciiedsutonorsesl (One an actully smgin, seam abtact ype the ews fa single stem of gestutal sign ay the single nsrumene Fran communica il deste Neapolitans, another won{tis on sch hypothetical sytem of weal that he language ttn cncra founds is peaciat aii to exist ght #0 Be ‘onceivateas he reset fs seres of atta communicate athe Fis woul! be very hth, certain Rut then i mcessay 10a immediately thet te sntended auene ofthe cinematonapie profact aio acustomed toes eat sual tat 10 BE Grinsiremenial conversation withthe wurtounding tet In ‘Emnuch aries the eovronment of a collecnty which also ex pesca withthe pre and simple pial presence ois actions od habe a sultry walk nthe ect even wath stopped up as {ES Conant conversion between us and an envionmest which fxresacs ll though the makes that compe 1 the foes of Peonic who puss by tir geste, tet si thet actions, thelr Tene ther exprsios det arguments, the olectve sae tone groups o people wating afc Has erwin ound 2 trate ecdent or around the woman at Ra Capua nd tore—bilbosrds sing, lfc ctcles ann shorts and {Tings tat apes charged wth snipe meanings and hs speak fatally with et vey presence, Behe mone theortcan woul say: hat cher san tie wold in man which expresses isl puma Mow 8 ‘yng images sll we inven. By analogy he tc Ung this nthe mor of semnors and of dreame ety sro scone mesoy na "equence of mien coats ina primordial sens, Bl sequence Whee di ice at Berti an a agra faye th lc icn pai tees se gun the pink earn the compan) GUARD Rader nage of Abe aes and the “person” = ‘they walk with he smal barack of the former Free outpost in the uckgtound, ete shia sense every eam va sequence of $a whieh hive all the character of fia scquencs: lose ‘oh longaherscxreme oe pee Inabor, theres complex vid of meaning ages—oed gestural and enemmental— that accompany the linen, an those pope co soemonies and ‘ica which peegue and fer themselves a he wnstgumental™ mise of cinematographic emmunication An oil be medal neces to make a paensetcal ‘bservaton. lle the istumental communication wih his ot the bass of pote or pono communication i lady ox tremely elaborate oer wad ea istorii complex nd mata sytenr-he eal omnuniation whichis he bass tim longsge onthe ootary, extremely era, almost animal ike. hs with estas ue elit 3 desins an she processes sf our memory are almost pchuman eens, oro the border of ‘what is human. In any cise they ste powamntial and eve Premospholoscal ream take place othe eel of the uncom finns as do the mnemonic prctses, gestures at a indation a sn entetsely clementry stage of ciifeation et The nguie Instrument on wich Hy predicates thet. of nial Iype and his explains the deply once yualety ote nena an alto xs concreteness. let us ay eee, which sth abl aad Impossible wo overole More specially, am saying that every syste of nse iy collected nd enclosed ina lena. sod thet dictionary there 's nding the excepto, perhaps, of the gestures which a ompany she sens in spoken unig Eau star has in hs head lexically incomplete bur pactialy perce dictionary oth lin ‘istic sa of scl ad of cutry. The work of the weiter nsst taking wards tom thin dctony whee they are Reps iWima shrine monde to ue them ins speie manner spe respect othe histone moment ofthe word and of the water Fhe ‘est of ths process sto sncesse he hist val ofthe word thas to nerease che meaning he wor. that writer should sanust something. ere domes his -speic usc ofthe worl Bete dea atonal meaning alike imttutionaizd word. The sites capresine proces tht ts, hs invention. certo adds 20 the ftoiity th sto the Teall ofthe language therfore, he worke on te angus has $n isterumental linguistic syteat and ss a cutsal tration His ttf one were to describe Ht toponvaicaly sone sla! the Teorking of the tearing of thes The sab ae hoe in the Aicuomary isco ey tbe used Tor dhe Ammaker however the acto, alebough fondaaintally slay Is miich oe complicated There sno dts) ge. There is no pifonbled page feady to be usc. By sy ‘hance we wanted to mazinea dictionary of mages we oul ae fo imagine an Ininste dctonary a inte ae the con a Possible monde The filmmaker does nor havea dlewonary he has ante por sibilities: He des not take is sigs inane! fom shri, 8 protective sheath or foes mn agg ut chi, mt hs be nothing sure than possbies oy shows inchs, ‘nei communicaion. The acuity th inept thus woponymiclly desc totale, butdouie Ava mater olathe must take the iva rm she meaningless me of bostibieeaprssens chao make Heinen existence psa, nd conceive of tay placed in dictonay of tain signs(gestures, envionment, dreamy, memory (3 full he writer's {Snctin hat ad so such prely morpho sgn tind ‘al expresive quality Ta avher words, wile she activity ofthe weiter an aesthetic ingenuon, that ofthe fume 1 Ast linguistic and then aes thee eis tre that kind of eionary ofl, hat 2 convention, tat essished tse daring the past BY Years of. This con enon forthe following reson: ws seystic bere 3s anmatieal Tet ur take the imag ofthe wheels of a wain which turn among pfs ol steam evo aaymogmna, it 3 seylema, This leads usw Suppose that—because cinema obviously will never be able 0 [Settee eal set of ammaticl rules, sf oe 0 fo speak those of Stylistic mnar—cach emeaEmmaker makes am he es Pulled to tpear the twofold process mentioned above. And he mus ES sersedinsolar ales are concerncd wth acesain numberof agressive devices which lack in stcuation and which, born 2 Slvlemas, ve become stags. ‘inthe positive side ofthe ledger the filmmaker instead of having totehinc #cemungeold styliste tration works with one whose ‘tory is counted decades: practi] tems this Means that there smo convention to upet By excessive otra His “historical ‘Mlluon" tothe inragn te atahed covery shorved ime, Hence pepe a certain sie that lms anstry proceeds fm thio Ke pamansial sins are the ejects of = world which i {hvonologtally exhaust each te Its depicted the clothes of fhe this the auomobes ofthe Bes~these areal “thins” Shhout am etymlony or witha etymology that finds 1 ex rsson inthe coesponding werd systems “The evaltion that gresdce over the ashlon which creates clothing on which invents te shapes cas followed hy the Ineaningol the wordete [ater smother words adap themselves toe ler Obie, ists aveimpencrable They donor mone, bor do they say shoot themselves what they ate im a parila moment The detonary hich ee Mme places therm is {eutiy isnt sufficient ge them a stone balgwound me Inafl for everyone immeditely ad at alter date Their ahd observed that he ost wich Becomes lm image i tharactersod Bye dere of unity apd determinism, AN iRratra that e be, Seca the linsen used by the writer i “ucaly been eine by am entire prmmateal, popula eutural instry wie the isin employed y the filmmaker ideally as Peo acacecd hy the Mimaker Rime and noone else om feat common patina Al fe mith ut ye Rae seat ‘here etait sme she tr nw Case ‘symbole lenguags which, while they have a grammatical history the tes af selection and montagerdo. hover ea lady ‘the visual language. aus by set ‘one more oberon in isch fos tionary as ndamen lulandproliminary sto the imaer can ever cule a est tims The i putuly she pnp erence Beween rary and cinematographic works [suc a comparn nates ‘The linguist or grass! worl ofthe maker camped et imate, and tapes ave away comet aver nc only ‘ne leak thousands yearn then canon nese makesymbols which under a process sila to hat of words, fat east ‘Dove whch ginal cette rugh the elies of repeated se Fave become abstract) For tow theeorecipema van ase and tora los angoagetmsy bes parable but never aces tert epcsion Tastee isd ayo eng de Shue peta quai Al chs shoul aeluson mas one think hat the Language cnc i trdamentaly "language of pty” Instead. str UEally in practice alter fve arent which were unmdately cut Shor the cinemtowaphic ait which has developed seems berth of language ut pose” ar a Teast that of a language of “sere, but a ws shal sc, t's stom of specie and surepitis pon, because the fundarsemall eatonal pare ot ‘usta cannot he eliminated. The tut tht cit. nthe Ye fnoment an which Ht caibished sll a6 new "technegue™ oF ene” of expression, si seablishd ills 4 new teckngue e suc of escapist performance, witha ime of eansurets Uns Spnable forall het tm of expesion. This means that imine inely undrwent rather feasable ant unsidable ape in Chher won, all testinal once elementary and bartaric ‘lente ie force Blow te level fconstousss thats Cy Sere exploited a subconscious instrument of shock and prs Slo, Tha notte convention which has famished the mci Feels and pecan comaraons wath ee hee the heel was tm tis ponies monetrun’" tht lm les This natanveconvencnn belongs without quston by analy £0 the language prose sonication, ue has common th Sch lings! ony the extemal manifestation the lal and iiueative pincesee—wbe Laks one fundamental emer of the Language of poses rational fy founda ss cat mye fa olan subtew which, ocause tthe very nature of nea funsundcrncah eects stetacri en hich no ores a ‘slab fay adult aeathevcally and sual Nevertheless swe shall se latex tls oe la adopted chet pot Tongoose eis langoate uf prose" this narrative co ‘tion paved of express mpressomsti, and expense Iihlahee ste! can be tte, however thatthe ait film langue 28 has develop during thse fine decaes ts pany natralisic and objective, This s such an sneriguing costaditton that ss ‘hse and its depen echnical connotatins devrve to be bsetved cactlly in fatto capitulate ssp what have sak fa, we see shat the hngulste archers ofthe ug ae the ngs ‘etic ad ur Geam eat fy snages of sommes it ‘rele and of ony ndrctcommmanicaton with others ht ‘he image thatthe ocr perm his 4 hing which speak > ‘im tsa erence we htt in cman) Those nchctypes ths lay dace base of “subjects for the tm-siny hich consent belong in he hshest detec to the work pty Thaw the te enc) a i ange shouldbe expressively subecie and Iva "But ehe sug soe hate nemo haere he amplifeation of te spoken by gesures and Ay visuals tbseved fealty with ite thousands of signe which function my signals, Sich archetypes ate putmundly dierent fom shove of memory and Seam. They ate nother monde rotlly bei, they elon {Kind of "commnicatn with others” which i as comma 3s Fassile vo everyone and sus tunceonal. Thus the tendency the they pres upon language the sn ahr ly ‘hjctive and intormatise Think: che fa sctun which must be performed by the dinecoe— thar the choice his voeablary af isis as posible sabe Tings etirs—ceraily dest ave he objet ane {ual common. established vocabulary suchas the une of weeds “Theres than lve 2 Het mabecise moment ia ach procs, too in that he fist choieaftmages cannot oid Beng determined byrehe filmmakers Weolgtal and pce visi of ealiy st tha ‘omtnt And 0 the language othe sin compelle 0 at Ee yr anatrtendeny sieeve cocci Bur this act on. contradicted, The rit syste history of cea, fet Bosse the exeste mitt ned oro ize of a mien oil, his caso the seems ‘which immediately became symtagmac in cinema, ad thus wee Teincorpraed ino the imation of guage be ery wad {nthe fn analysis cre ermember the eerl ssample the ‘wheels of the locomonve the tafe series of alway soni) ‘lose-ups et, etet All heabove stands ea corti neat Ine Langue ot isin and guarantcs tone again a clei {ny conventional obit Tn shor cinema, orth language of isis. has adele nature cde bouh extremely subjeave and extemel abet sch sn fxn that reaches ah Unsurpassable snd ean naturale litt The tro saomtents of the sbuweencnionel cane ae ls fnteresned si te sepaable vent the lorescr er al tu a etl ea a a npr mance nah 19 film prose was quickly established} ; oe eee cured Sond al eso. For eval SSG TETES AE wed ae one JCIRES Stas hon epson sh wh ‘words oF the colors lose their expressive punty and are enslaved so ohm sia gee Soe ee km aura toe pa Aeetically metaphoric which is sensationalistically possible in film, ome one of prose. The laeser, in the end the one which Farivaled in the beet tradition of the history of cinema, embrac- Rosselli, elevated to the poston ofa latter-day Socrates, to the nouvelle vag,” tothe paueton ofthese recent Jeers ates ‘months cluding T would imapine the majority uf the Hiss se Ast Festival of Pesaol tends ewan’ cnc of petty “The following question acs how isthe “language of poetry ‘corescally explicable and psicaly posible ance ‘Toul like to answer fis Gusvion ouside seclly cin oatoyephic cones that by behing ts logan aa a Irth the redo which I guatnesd by gaps an cme “lansip becnen cinema rere Ths temp Ino te question isthe eco ee met see Meincinema De wl se ter the sasns his den change i decom Weve how the beth ssethiesledtaned ie ae poety® i cng ye toa paca nm of ie ince in atoqsphic discourse However soup of wre at meaesany fiscimonder wo estabsh watt nby ce nde acoso 43) simply the immersion ofthe Aina ine mand ot at sharscter and then the alpion on the pat ofthe Snakes ‘only ofthe oycholoy of chair bas this ass ‘Css ec inde sacar han sla exile cere ‘heres a potential and emblematic ee et doco coe Dante when, for mimete reasons he see words which es ee sana that he used his ac hich belong to the seal le thi characters: expression of pot language Hom the Maree foram aes of hs tne hr Pas Fans est ons a Naturally the we of the fice indict” exploded fst nate ‘ais eosier the achasing and poetic atalino Yep sa thn in cepuscuar nem cao eds ee tsonuh century expresses Isl try fll through Teenie socch "he constant chatacters fall sanimted spect i hea ‘hor’ inabiey toavoid a certain acolo shares fhe vironment tat he evokes infact, the scl ceo ts heracer ha determines his language bpeislized language lang Slat oc however GateelkeLngtape hs become Teil also be necessary t0 make a detncion heen atsor smonologi and fee inet dicount incrier Megat st ‘sycech teaitated by the autho for a character mh ay eae ideally, bea is encation od she hs ecmomic and onal clos “The lange a the author atte the characte may theron el beens Thepoyeholgel snd inca iva a thecharacteris nota question of language but of spe “Fre sndct™ ‘cours is move naturaistc mth ivan actual dec dicourse ‘thou qooaton marks and hus plies th use ofthe anguage of the charter, Ta micclas iterate, which sacking class canseiousness leno i denies elf with the ele of oman free in eet” discourse is oftentimes a pretext the author constructs & ‘haacter who nay spake invented language, inorder tears Portola tneapctaton of the wor I ei thie "unis cs ours thor funtion i pretest —at tes for goad reasons a ‘therefor ba—that one can na nares whic ase amounts (the txt ae eaken rom the “Lanuage of poe” In cinema dtet discourse cortesponds othe pointe shot In dct dacourse the autor stands aie and cede speach tos ‘haracter putting what he say in quoaton marks “Ad now the pst nse chmbing bere me andsaying ‘Came op now the mets {stool by the sn anon he sore nigh now ett foo on Morecen’ Through det dscoutse Dante reports the words of {he gente teacher exactly a8 they were spohen. When a sree twtr uses the eupessone “At scer by Aeeatone, Stella walks ‘hough aal, lty field” or-Close-op of Cabins wh leaks ces. down there, among the aescas, Somes hays aeance toward is playng instruments and daneing “he's sketching he outline at ‘howe shows which heist, and to agresteroxtnt edited, sll ecome poofsicw shoes* Tete se ack of famous point ‘view srs, perhaps because ofthe extaagance Tak buck {he shor scan fromthe point of view ofthe cadaver who sce the ‘word ax might be cen by somone who Is ning inside» coin {has fom the botor up and in moto. ‘uth s writers donut ways have specs technical awareness oft proces such se ee snarect discourse, so gectos, oo, have Unt nos exablised the sys premises or suc a proces ther ‘wih the most sbsoute lek of awarenese or ith ery scale Saenese That nevertheless fee indice discourse may also be Foal or cinema scram Let call hs process a Wee nde founroci st” jwhich when compated tothe analogous p> esi lncatare, cam be tainly lee suited and complex ‘ha Secing that we hate established dierence Reeween “He indice and “iteior monologue," will be necessary to se 10 tthich of he two poceae the sce net point of wee closer Inthe fst place canoe e an actual “terior monologue stage cinta doesnot have the posites of intention ane tactlon thie the ord has is an “umcrior monologue” of immes taal In other wordy stacks the enue abstract and ‘heoretial dimension which is explicitly involved i Ue evocative tnd cognitive act ofthe characters monaogue. Thus the absehte of te clmentshe ne which iterate constitu by thoughts fxpesed by abstract or conceptual woeds—means that are ind tect pintotview shot" will eter corespondpertecly the ine For menologe erature Moreonr nthe story cinema, would noe Be able to cite any cases of the ttl dnappearance ofthe limmahs nto a chrater Sstleust ntl the eat ses. in ether wordy don’ shins en ‘ust which seneily ate nec pint ew shut hat the enie story ol srough the chafate, throug a aol Intenalisaon of his ier eyter of allusions ‘While the ec sce pant oew shot does no contd cenuely tothe “interior mmologus,” i coresponds sll ete to ‘Sees iee indice discourer ‘When writer recteats the speech of oe a his shatters, he sznmereshinsel a is pyeholgy bot alo sn his ngage Free indirect dncoure i thettore away linguist diferencia ‘when compazed tothe language of the wet The ster as the possiblity of repoducing the various Languages ofthe erent {pes of social conditions by ronmating thom becuse they ext very linguistic reality ts 4 toality nf scily iene and ‘ferentatinglanguagey and the writer who uss “ee indicet ‘EScoure” must he steno his bee allan aware Whi it ‘he Bal nasi foun of las consciousness Tutte salty ofthe posse nsitonal lm lange a8 we have sean, des or exis on nite and the ator ese ct his vocabulary from this infinky esery ume But also, in such 3 vcabulary the language of necessity iterdaestal sod inert "onl beause our sje ae the same the wold over. They sn take into consideration, beesuse they dan exst, seca langues, ‘Ublangusses slang shore sual ileences. Orit they do eis {ntact thy they ave ttl yond any poet cla Feation an | ‘Because, n fact, dhe ae" of peasant, paps even of am entre town of eon prbinoric conditions of underdevelopment, braces another type of rainy than she poe gen t0 that same Tealiy by an educated urges, Not only do the to atoll se Aero set ol things, hue efen 4 single thing i tsell appears Aierent csowgh the eo dierent gazes" Hower ll hs east be nstrutionaized i purely snducuve Ih pacice thereon on 4 possible common gute lve preccated on gaze at hs the ailerence eat a dector can perceive beeen himsell and ¢ hatacter is enly psychological and social. But ot linguist He hotctve finds psi n the complete tpn of elecany naturalistic snes of this language, ofthis hypoteti dae at realty by others "thus ne rence himself a his charater antl he sory cor depicts the world tough him, he eanaot make use of Cat trmtabe natal tstument of diferenéation that langue thr atny cannot be inguste, tm nsteod. be sis Moreover awrite to fhe wee hypohetaly to reanmae the speech of characte soil dentcl to ise eam dterette ‘syaycholoy fom ht of hs character not by mean of languake wich is his own language, but by means ef #stle—that 1m ‘Praceal terme, ehnugh cerein characterise tals of the "I [Rage of pots” Th the fundamental characterise of the “tee fect poncol view sori not ngs but istic. And an therfore be defined at an tocrior monologue lacking bath the pli cmcaprul element andthe expe abserace philosophical {Xdnene. Ths at les ntheory, eases the fee inet pont Stew toc Incinema oiply he pony ofan exteme niic ouaton In fat caus ito fee the expesive posses Compressed by ee atonal nari convention hush aorta ‘tum tothe ongins anil the onpinal one, brace ena Segesive,wsonary quality of sinema found trough tech the device In shot hese indect point view hot” ‘Which etabishes a poable aio ofthe technical ana of As concrete examples of thi, will nt my Inbortory Aine, Brcluce snd Godard cold so Rocha rm ‘rai or Forman fo Caschoslovski, and tural many others (Gesuaby sow all he Slomates ofthe Festal Pearl» sh for Anton he Red Desert want to into hose aspect of the Slim which are unierlly recognize a5 “pot” ‘thc aecertinly numerous a hsm. For example thse two ‘rahre surat foe vile flower in he foreground in the shoe it Sthich the two protagonists enter the home ofthe neuoue worker, dnt thse sme ote et Bowers whi appear 0 he ekjound no Toner out of foes but aggresive in foes 0 hot the cnt Os cansider the sequence othe dreamy, eich, ater oimuch delicacy of color 8 suenly onesie fa an almost lant technicolor order vo iat, or beer (0 feanimate ‘houh-a ee mduee ponvot-view sbot" the comic-book Idea thor eh ha of obese comer an he quence the preparation forthe tpt tga the workers who stn, ‘Seevstha stupendous close-up ofa disessingy "veal" Eman ‘Stover followed by an inane pan fom the bottom up along at ‘Teetng bus siupe onthe whitewash wal ofthe warehouse: All this estes toa deep mysterious, and cimes— great intensity in ‘he formal dea that exits the lantaty of Antonon But, to demonstrate that it ths formal which, in essence, the premise of the film, [would ike to examine two aspects oa ‘extremely meaningful siyisic operation the tame one wich will sho examine inBervoluce and Gea The vwo puto the pecest tne the fllowings [1 the ssquentaljuntapusion of two goad ‘anty diferent pints of view ofthe ame image, tat ite ‘equence of two Shots which tame the same pee of elt ioe fom neat, then fom a bi seer o¢ fs fotally and thet it ‘more obliquely, fall actualy on the sme as bot with tw Ahern lense. Tas lads tan insistence chat becomes bse, fs ie Becomes che mych ofthe actual, distressing suionomonss beauty of things. a The tcnigae of making the characters enter and leave the fame, vel of which, fe am eccasonaly ob ‘Sssive manner, the editing comes fo sonst estes of“: {ures which we cal ral —whce the characters ett oy tr do something and then go ov leaving the pia once est {pure absolut slnifcance a picture Ths pctaneis ellos Oy nother analogous picture, where the characters eter et. 6o tht {he worlds presemted a reputed by 2 myth of pe petra beauty tha the personages invade true, bu adopting them salves co th sles of tha Beauty intend of planing them with thei presence Til imeral law of cobsessive framing” thus clearly demon: sues he prevalence of formalism a Sally libertad thee fore poetic myth (My use ofthe word formals docs not inpy 8 valu judgment. kaw very well that thre ian autente sincere formalist ispttion: the pocty ol language) ‘Bu how has this iberatn been posible for Antonioni? Very simply i has become poble by eeiting the "syle condition fora tre indict pinto view shot that eoneies wth he ene ‘lm In Red Desert Antonion! no longer superimposes his on for mals vision of the world om a gncrlly comtited onten the problem of neuroses eauseé by aieston| a head done in his fair fils in a somewhat clumsy Bending. Ista he loks at the word by immersing onal tm his newoue pevagonsh re ‘animating the facts through her eyes (se, nat by acdc, clealy nee poessional care having ead tid o commit suri BY ‘cans ofthis stylistic device, Anenions has reeds mt deep) felt moment: he hes tally been able vo repeset the wor ct ‘through hs eyes, because he har subtioted foo forthe wo ‘iw ofa neurotic hs wn delrioge view of ethics wholeale Substation which isnt by the posible analogy of the two‘ows. And if here were something aba in such a subse, {here could he no obo eee hte cee pe ‘olsiew shot” [a pretext a Antonin: took aleneage ie shy ata tallow hms the peatest pete heeds Ercdom which epoache andor mating a ob The obsessive immobile of the me i so epic of Ber tlc film Before the Revi" However t es Wiest ‘caning than does tor Anton snot a rgoett of te eal {cloned inate and andro the hame tsp foe ulent igaive beau the inc Beaace ates Jette Antonion The toma of Belt i tninnely ee Deval, and his rang dese see metaphodcaly rah Subenng i intosa man eee whith ae at iysterouly ae ‘mous as panting. Bertulcrs ame shes eo sine seeing {oa standand hats some reac acconling toa chad Bostic lnguage followed ss we sll se, Byte sane ost dant to Bergman The smobity ofthe lesmne o's cea slogan of deep and uncertain fxs proely htat pee od ‘cay Inpacica sxms, te est syste tem eee the ev tot long tee inet poltotsicw st peice he hina tte of mind a te potatos Ihe im he oun ‘coc ant ut lem Antnon! we nd the whole a Seti of the llmmakers vison ct fv talon for te ‘ie ofthe neurotic wavs in Bertluet sh 3 wheal sc stucion ha-not taken place” Rather, we have 4 mute cat {einen ofthe ward the net a andthe ‘uth These views, bing incvtly sae no eo di ogushaemhey shade no cach nr he seu Ge cae se The oni exessitely shir moment ofthe lm ae, cess the “ison pases ofthe Hang an of he tie a sang. The pomammatic ream of tos doves he Roll ‘us ncreastie erage sn the mythic rain ame sees ‘nase charged dung the abnormal drt oa shot or a ‘dicing yt anc expla sn sort teh ean The insistence on particulars, expectlyon cern deals of tte sions a deviation elton to he set o he te fermptaion omnake nthe ns eis nso the pees the Author, who arse isin ian shal tens sad he Sonsand hvatns tabu etuted bra cullen espion ‘which i Bally the latent nano ete one te ae as orld of his own eal experi A mumemt of aaced se vey saat fn wih she abst scaly ys through tha ces of ae octvn that the esa Wa pretentaa tee inet pone sot" shor, beneath the webu pause bythe uoagonises stato Mei inomentadnapabicctoorination obsesedby dea acted ‘ycompabry kandnesecche won af acen by the mo lest ‘loses ilmmaker continually srtace,Sominated by an cles. ‘egor spe whieh never came cls "Forumer sd en ly we yahtyin Godgrd'caltural forma. The vinctncerableo iia ene ig Poa he cannon Be woth hh Alvmal elostetsm, forth sane sean, He is completely pos ressonstc, He texans nothing of the od scone which apnats im the conservative, urginal area betwee the 9 abd ome ceen when ft hes become very Euoneaniced. 25 has in “Antonions Godan har no accetcd any sonal imperane. He els tether he bhgation of Marat corte ol tL po he alfa of ae pein se say wine Mant mest or srupce Ir eeomtrtes the word within ele Isao cymieal toward ie. The poctes of Govan is UMtolgteal—t os clit etnena Hs frmatiom ie thus tec aes which ini poste: eveything that eapered in ‘ovement y a camera beaut Teste teholcal and eeretore ‘Nataly Gad is plays dhe an ame he so neds -ahmnae comin the te ote eh {fc roi nd ease onion coon nee snc i Gs ranma ts $necnfuate ower the tug hu hy ae mo under ‘medial eatmene They sre exemel il but wal sy hate erased er te thls pala coon Tos ony represen the avenge fs now athnopoloieal pe, Obs seharacerce th tlaowsp with Ge word che ob Siive agement toa Seal ova gee (and ere inet fea fexhgue, which an tmnt sua ae eer ha ary techno, ames mo poy But in Gal wean Contned by an inssrence tna ive inadua cect sie ‘Scena Beale Ta sn toe the ato Gi st'sge worlds n Beroles ian sno call ad be ps Saying on the sume ee) elon His pretextual “ee met Gila a confontauonl rangement which does ot i {Me Sewreen the thnurand deta she or thou & GRA ctamury eed th he old an ales eltauedcbse epi ofhis amoral protagonist of a dsinterstion re Constitute ito unity tvough that nace language. Goda Is fompletely devad of casiism, otherwise, one could speak of ‘Seouutus in vefevncs to him. at we would spesk ofa atonal Aeocutism, Beneath the events of his fm, ner the long "et Idec pinto view shots which imitate the sate of mind of is protagonists, chore always Blin made forthe pote pleasure ot string ata trapmcnted bytes and rennstted By ¢ roa mechanical, an decordan Bago “The inema of potry"—a it peas a ew years afer its birth — the har the common characterise nt podacine ms mith 0 ‘Me nature The Aim that scen and otinarly perclve “nce ince pum of ew shot" maybe regular and spyrosimate ‘ery tee i ahore,gvn that the Blmmaker mln wee of the “mina poycholgteal tate of mind i the Hl,” whichis that at 2 sick, abnormal protagonist. n nde to make ft eontnual ‘neti which llows him pres, noma and proveatve site freclom ‘Beneath this film runs another lm the one thatthe Slmmaker would have made even withou the pretext a the ws mimes of Iie protagonist film whose characteris completly an fesly expresive expresionise Proto he presence of such ap unrealized, subtrzanan le at, recy, a we have neen im the specific analses, the obsenive Shots and editing ryehis. This osesiveness contacts not only therm of dhe common fe langage, ut th very intemal orga fsstom ofthe sl sta “te sec pont af view shoe It ‘other words the moment in which language, following a diferent Si possibly move authendcinspgsien, ees self of faneto d resents sel a language as such syle “The “cinema of poetry” sin reality, therefore profoundly bases forthe mos past onthe practice o style ae sincerely poetic spi tom 9 mach an extent ato remove ll suspen of mytifenon ftom the prtentual us ofthe ste inktet pono sew shox” What does al this mean? Ie sacans that 1 common techie! syste train aking lnm langage that yo he cnems ot pct Ths language by now tend to be placed dichroncally Fela ote language of lm arava acon that would [ppear destined tobe aways more panounced, a happens ite Srv systems. Ths emerging technialityintic aon se on ‘the culty of those lm styles tet developed almost narlly 2 function ofthe anomalous psyeholopcal excess ofthe retex feally chosen protagonists or betters uncton of asutsanvally formaiie vison of the WoWd formalin Antonin, legis re “cnanth oF rox 183 eroluce technical in Glad, te) To express his interna vision ‘cures a speci lnpags witht temas ‘Seon scchgues equally presen slongie the apa. This Shatin, ely beats formalist, finds bth esse ‘Reged es object nite styleman and echniue. "The sence of sim esiemars tus born and catalogued ina scarcely established adinn gl ioe nora ether than chose ‘Shien are uve and wou sa papal coincide withthe yh processes of specify cinematographic exession, They Ur pure Imgusue fant, and thercoce they require sete ln fists expesions, To Int thesm implies tanga posible and not SeCeotined cpus whose nonmiity,howeve 1 cay Po {Ens tom fase Ronse, om Prague Bosal "Te te characteristic ofthese sgn which consti a rain cf the cinema of posry consists tht phenomenon tha is nor Sully sd fly defined ty persons the busines 8 allowing, the cemeta tobe fei in short, he eat principle of wise fm {Bien inforee upto she fiw yeasof the sates [Do not allow the ‘nce te be fae" has heen replaced by the epposte principe ‘Fite two canons, gaoeoogal snd enon oppme, rt thee 10 {fing unegutvecly she presence of two deren ways oF making Ble fo erent im langues hen t mus be sad nthe rex ln pony from Charo 0 Mizogucht to Bergman--she ener and common caracerstc was uth camer a ot fel) They were not mother words shit sechedig tothe canons ofthe “language of pet" Tht potty Atos ecwhee than ange ap cehmigue of lngoage. The ct {Puce comers eas elt ment ca ee ngage aor the spenaes pang vel ther service: twas tanpatent oper thn, aid ot superimpose eit at, viltng eer trough {REinsone smante deformations tht ave tibutable to 8 pre= nce contnoous echnical tise aware. cca ual he boning sequence in Ct Lights [g3a between ‘clin ands champion who, caractersuclly mach songet ‘Sur be The sependous comical nature of Chalins ballet, hone ‘bmteacawseless tps tke a here and then tere, ea ining aed resis aos We the camera vas theo oles, liming whatcver eoaity” was. reo wa ele Onl Gerecalltaneo the test products of the classical “nema etey! In Berman’ The Deets Eye gee, when Don Giannis TRU ewe ner ec med yay rl oe the wld once ‘hai, the gpartion ofthe word -something so extraordinary—is Masel Gy Bergman song sho ofthe two pagans a 8 Bement wistitch of springtime country landscape, ome oF 0 Teeemely onary Sloss and peat “stablishing shot 2Sesh norms of during sity nt tapped hu Uetnnsncence The camera wae sel eed Ghose ina in sx ou se “The poctic nature clase fms was thus mt obuaine using specially pote langage This tans tat they were fo pct: Ba sore. Clavial enena wasn te narrate. Hs lange 1 tha of pose, Posty is intel as, for example the tes of {Chek or Mele Convery th stu "ngoge on potsy” thus imps the posit of making ecudetones wn fen wich the lasso pots The post sh a a Prose of sre of yl pages hose vce tensed Oye Freexus neo ee ee onc! po oe hee and hase prague te “The camera Cette ft for god reasons. The aerstion of ite Tenses symm anda 200 tm on the same faces the Droleatiom of wasted om sox, with tr Tenses ery high umbers which a on topo things expanding them hike exces tively leavened breathe contmdous deceive caseal sats Stainse the ihe, nih dss he eames, te handheld aera ‘ovement, the more saps tcencl tacking sh the whe ‘tmeforexpesve rant the iat openings the ter Iunabl aus on hese mgt =the cre tech oe mein ing slot out of mptence wih the us, an ‘ed for a etl and prose heed, nt these authentic or dls cymes! cf snahy Dur then qt Became the canon, the nite ad pocai parimoay ha ie St contemporary Simmaking che werd one (0 what use i Cw have ial outan i sme a, have hapied this iccene tecnica ils tataon oF 2 cine pocuy'? Obvsosly i simply offer a sel tering) whic ‘caninsess unless ne proceeds seeqully tv 2 compra tamuacion ofthe phenomenon ina vist salsa seal and Pull cose. lm, pofably since 1936 ehe year Moar Tames appeared, has always anit leer or t st has etalyoe with ne Hines that mae be st chronolnacally the dcp soto themes that woul! churatrseInetatae sm terete or hi teason cinematographic nearchism ifome Open Cat louse ‘heed he elm htrar® neti oe posta yeaa Part he Sts the nonce sna dole ise Fell tr Antonio prebzured ths alan neo-aanteiac teva othe tang of aco he "nee wae” anekipted he ssl regan” hinges i opm seston public hen Cinema of some of the sociale republics tthe stand mest, Sensational evidence of gencal awakening i ose soaeies of toerest nthe orais of Westen ong as manifestation ofthe ‘easmpen of a ineruped wentehseniry thee, ce tara ntl te main oan uae oct) ln” my be ont ay even stone ena Few of formalism asthe ergs: Cpa production of the Caltrldeeloment necesita, Naural cher any reser Son, duc co my Manse motslity tha here is poole ake Dative! hat oa Yen of the wetter mada, ch ts Sime apes to hae expe "Anda, in eonclson 11 The technica sisi sation of « cine of pct) Ts bor within the hounds of nfo serch, wih Cen the tangle ance Un Production [1 The tse ofthe sre tndect pee se" {he einema of poetry as hae repented sve me, iy prtetal Ie server to reak tadetlyiirogh any net sin the Fit poton ingle Therefore the language used forthe meron ‘rnogs of prcteatal characters nthe langane of Bt pe who aes the wel scoring to an aspiration wich ste ily iavional Tettore, to express tries they mast make ‘ecourse tthe most spastona expensive devices the “angaae {of pocry” (3) The pretextual characters cannot he chosen tom tte the cla mits of he Blmmaker, ha they ae ana fou to hon in cult, langage, and paycology—iey ate ex {ote “fers ofthe bourense “hc shoul Belong to another cll world they are mysiczed and sim by eine eae fovsed as abmal come oe hypersensitive, etn shor, the urges as nl, ees soc thal of aman a ‘rama eras TA hs spar of ha generat om the pat bureeois caltuetorecaer ce ground fost in dhe atl with Mays a ts bl evolution Ande somnuates sl into tat soe a2 undise'movemene of what we might call the anthropological olution of eaptatom, thats the eocatalim tat ciseuses nd ‘holies toe structures and tht inthe cape in pane once Sin, sacibeto pots alae humanistic function the myth an the ‘cchnial enscounness frm 1. Animes ov image igo sin he Bln eae fs th muteaist ls was made by Lots Bunuel and Saleadr Dal ineee ce oe ane gee cae tor ec gap el ee Be cote Si ae Re eg sae -Nev Linguistic Questions nor the term “eropuscularismy cei ta eines er eT leg Tt ar pau man ee se Ree all cutee dete oes avtebursarcl fig abc) the youre econ finds hake, Sil mee rate te gw muntny tea fi logsies Samer are