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written by Abouchada
The "poetry of cinema" or "poetic cinema" are often discussed. The concept definitions vary according to different perspectives and the development of approaches according to cinematographers and political and cultural changes. The concept has been associated with a group of filmmakers [Petrov, Biedovkin, Eisenstein, Pasolini, Antonioni, Petrolucci, Godard, Baradjanov, Elenko, Shamshev, Gervit, Tarkowski, Dovzenko (Nicole Dziub 2017) , Or who have created their cinema by exercising the freedom to violate classical narrative rules, or have introduced significant changes in the montage technique. For further examination of the concept, the Russian formulators and Pasolini will be stopped.
Cinema of poetry in form.
In her analysis of some Soviet films for the years 1960-1970, Anna Louton (1992) notes that some of these films are similar to the structure of poetry, so that they are based on similarity between images rather than narrative logic. Indeed, this trend was known as "poetic cinema", as it was called "antique cinema" because its films are often derived from folk tales and legends. In addition, the studies use non-narrative cinema to describe Soviet cinema. In this cinema, the picture is more privileged than the narration sequence. Jean Fronskaya (1972) calls it "the cinema of images," noting that the poetic film gives the viewer the impression of "beautiful painting". However, the aspirations of poetic cinema are not limited to the production of "landscape" or "plastic" images, but extend to the exploitation of the possibilities of the new editing machine to produce meaning. Moreover, in the Soviet formalist tradition, the poetic cinema is not only non-narrative, but rather a cinema against narrative. From this point it is more specific to stand up to the concept of "poetry cinema" proposed by Shklovsky (Nicole Dziup 2017).
It proceeds from the distinction of formalism between a number of opposite diodes [content / form, narrative / show, prose / poetry]. To distinguish cinemas from the poetry cinema based on the correspondence between the story / composition. In the book "The Cinema of Poetry" (Collective Work 1929), the Russian figures tried to lay the theoretical foundations of cinema as a shroud or mediator to communicate, describe its method and its exclusive procedures, and monitor its relations with the arts of composition, theater and literature. They used the term poetic in the Aristotelian sense, Between Poetic and Hunter. In the "Cinema of Poetry" gives the predominance of formal elements at the expense of meaning, and the cinema is poetic cinema without a subject. According to Jacobson, there is "a poetic function of cinema," and there is also a poetic function of language. In the case of language, the poetry of the speech is manifested in the absence of acts. In the case of cinema, poetry is achieved by rejecting the story and its imaginary flow.
To illustrate his idea, Shklovsky presents examples of films whose directors use some of the foundations of the cinema of poetry: [geometric forms - especially acoustics: repetition, anaphylaxis - the power of presentation, 'dialectic' images]. These "geometrical" tools, parallel to the images, are a poetic principle for Sheklowski, as long as they create visual rhythms, giving the film a non-narrative meaning. So that the invisible act that enables the spectator to recognize the existence of cinematic work as a production ». This is reflected in Vertov's The Man of the Camera (1929), where Generek suggests that poetry cinema is independent of words and language. Thus, cinema will be independent of literature, and the images will be convincing without the help of the scenario. Finally, the cinema will be independent of the theater and will give up decoration. At the end of the genre, Vertov writes: "This experimental work seeks to create a real and absolute universal language for cinema, quite different from the language of theater and literature. This art will become "poetic" when its work depends only on its "characteristic" characteristics, so that cinema will not be poetic unless it is liberated from literature. "The Man of the Camera" shows that cinema allows to show what is hidden from the person / spectator. (Movie theaters). The camera man can communicate with the masses, who can (thanks to the camera) access the intimate space of the individuals. Here, the encounter between "cinema - reality" and "cinema of poetry" is possible, but necessary, in both cases, by rejecting the illusion of the front space of the theater and going to see what is going on in the back. More than this, the cinema can actually be poetic. Cinema gives the chance for "ordinary" passers-by to diagnose without being represented, because they "play their role in life." As a result of this, the cinema is not separated from some of the "daily triviality" that allows viewing the "poetry" of the film from another angle (Nicole Dziup 2017).
Pasolini(Pasolini 1965), "poetic cinema" is a controversial interpretation of history, because "the past becomes a metaphor for the present in a synthetic relationship, and because the present, too, is a figment of the past." The metaphor is based on poetic creativity, according to Pasolini, and is formed within history as a total sum governed by its dialectic movement. But history itself is taken into dialectics as a sum, not just as content. In "The Flower of Paper" from the collective film "Love and Fury (1969)", Pasolini plays, at the same time, dialectics and parallelism between the expected and irregular nature of the personality and the confusing historical events and the function of previous years.
Human life forms the basis of cinematic art. But what exactly is life? "What distinguishes his cinema is the oscillation between happiness and pain: a fundamental aspect of the cinema of poetry," says Pasolini himself. These films, which are taken from the lives of people - not as a given daily life, but as a dynamic and creative force - which, in their dialectics, face something that can be death, without death. Death does not have the right to " The process is artistic. So it is the slippage towards death, towards a cunning death, that forms the antiparticle. This is where Bazzoli Cinema is described
