Inf(l)ection of the medium: Sándor Kardos’s films in between eye and hand

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dc.contributor.author Dánél, Mónika
dc.date.accessioned 2018-04-30T11:34:51Z
dc.date.available 2018-04-30T11:34:51Z
dc.date.issued 2015
dc.identifier.citation Dánél, M. (2015) 'Inf(l)ection of the medium: Sándor Kardos’s films in between eye and hand', Alphaville: Journal of Film and Screen Media, 9. en
dc.identifier.issued 9
dc.identifier.startpage 1
dc.identifier.endpage 20
dc.identifier.issn 2009-4078
dc.identifier.uri http://hdl.handle.net/10468/5905
dc.description.abstract Slitfilm (Résfilm, 2005) and The Gravedigger (A sírásó, 2010) are two Hungarian experimental films made using a slit camera. The director/photographer Sándor Kardos’s adaptations of Ryūnosuke Akutagawa’s short story “The Handkerchief” and of Rainer Maria Rilke’s “The Gravedigger” expose a particular “physiognomy” of the filmic medium through the use of this technique. Likewise, the face as the privileged medial surface for emotion becomes an uncanny, stretched painting with grotesque associations, similar to Francis Bacon’s paintings. The sharp, clear narrator’s voice, layering the literary texts “onto” the moving image further emphasises the colour-stained plasticity of the visible. Both films attempt to articulate a liminal experience: the cultural differences between the East and the West that are inherent in expressing and concealing emotions (Slitfilm) or the questions relating to life and death, the speakable/conceivable and the unspeakable/inconceivable (The Gravedigger) that are embedded in the communicative modalities of social interaction. Through the elastic flow of images, the face and the hand become two uncovered, visible, corporeal surfaces engaged in a rhythmic, chromatic relationship (due to the similar skin tones of face and hand), and thus gradually uncover the medium of the film as a palpable skin surface or violated, wounded flesh. The article approaches the fluid, sensuous imagery that displaces the human towards the inhuman uncanny of the unrecognisable flesh through Deleuzian concepts of fold and inflection. en
dc.format.mimetype application/pdf en
dc.language.iso en en
dc.publisher Film and Screen Media, University College Cork en
dc.relation.uri http://www.alphavillejournal.com/Issue9/HTML/ArticleDanel.html
dc.rights © 2015, The Author(s) en
dc.rights.uri https://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subject Hungarian experimental film en
dc.subject Slit camera en
dc.subject Skin en
dc.subject Eye en
dc.subject Hand en
dc.subject Slitfilm en
dc.subject The Gravedigger en
dc.title Inf(l)ection of the medium: Sándor Kardos’s films in between eye and hand en
dc.type Article (peer-reviewed) en
dc.internal.authorcontactother Mónika Dánél, Eötvös Loránd University, Budapest en
dc.internal.availability Full text available en
dc.description.version Published Version en
dc.description.status Peer reviewed en
dc.identifier.journaltitle Alphaville: Journal of Film and Screen Media en


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