tailieunhanh - "A Film Aesthetic to Discover"

But now we can argue that to make a found art object out of a landscape is to abstract from what it ecologically is. The ecological processes are not just at the pull-over sights; they are pervasively present on the landscape. They are back home on the landscapes left behind. This organic unity in a landscape is not gained by treating it as beautiful scenery, though it might be found if one discovered its ecology. A British visitor to the Rocky Mountains, despite the fact that his Denver hosts had urged him, 'You'll love the Rockies', complained that there were. | érudit Article A Film Aesthetic to Discover Dudley Andrew Cinémas revue d etudes cinématographiques Cinémas Journal of Film Studies vol. 17 n 2-3 2007 p. 47- 71. Pour citer cet article utiliser l information suivante URI http iderudit 016750ar DOI 016750ar Note les règles d écriture des references bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d auteur. L utilisation des services d Erudit y compris la reproduction est assujettie à sa politique d utilisation que vous pouvez consulter à l URI http apropos Èrudìt est un consortium interuniversitaire sans but lucratif composé de l Université de Montréal l Université Laval et l Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudìt offre des services d édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d Érudit erudit@ Document téléchargé le 9 February 2013 04 49 A Film Aesthetic to Discover Dudley Andrew ABSTRACT Challenging today s ascendant digital aesthetic this essay retraces one powerful line of French theory which treats film as an art which discovers significance rather than constructs meaning. Champions of today s technology find that the digital at last permits complete control over image construction and therefore over cinema effects. Opposed to this aesthetic which targets the audience the French aesthetic stemming from Roger Leenhardt and André Bazin concerns itself with the world the filmmaker engages. An interplay of presence and absence as well as of human agency in the non-human environment characterizes the French aesthetic at each phase of the filmic process recording composing and projecting. This article focuses on the central phase composing and on the terminological shift from image to shot picked up after Bazin by the Nouvelle Vague and passed .