Interstices and impurities in the cinema: art and science
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Date
2013
Authors
Dalle Vacche, Angela
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Publisher
Film and Screen Media, University College Cork
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Abstract
Through a close analysis of Alain Resnais’s Mon Oncle d’Amerique (1980), Angela Dalle Vacche argues that the French filmmaker interrogates the “humanity” of humans through art, science, and religion in the light of Andre Bazin’s film theory. On the scientific side, Resnais’s film clarifies Bazin’s modified Darwinian scheme about the history of the cinema. As far as the religious aspect is concerned, for Bazin and Resnais, the cinema is an illusionistic perpetual motion machine that aligns projection with a pseudo-resurrection of those who were in front of the camera. Finally, in contrast to all the arts and media that precede and follow the cinema, the references to interwoven textiles in Mon Oncle d’Amerique validate Bazin’s claim that cinema is not characterised by medium specificity.
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Keywords
Humanity , Darwin , Science , Alain Resnais , André Bazin , Interwoven , Mon Oncle d'Amerique
Citation
Dalle Vacche, A. (2013) 'Interstices and impurities in the cinema: art and science', Alphaville: Journal of Film and Screen Media, 5. https://doi.org/10.33178/alpha.5.01