References of "Cahier Louis-Lumière"
     in
Bookmark and Share    
Full Text
Peer Reviewed
See detailWerner Herzog et Alexander Kluge: cinéastes documentaires
Hamers, Jérémy ULg

in Cahier Louis-Lumière (2011), 8

The documentaries of Werner Herzog and Alexander Kluge, especially in the space they leave for the spectator, demonstrate how much their approaches and conceptions of film are divergent and irreconcilable ... [more ▼]

The documentaries of Werner Herzog and Alexander Kluge, especially in the space they leave for the spectator, demonstrate how much their approaches and conceptions of film are divergent and irreconcilable. Nevertheless, the art of both these authors have something in common that has rarely been examined by analysts who have dedicated their work to both filmmakers. More than radical subjectivity (Herzog) or the aim of a visual reorganization of the subjective perception of the spectator (Kluge), a complex figure, and its perception by the spectator, are at the roots of their documentary practice. We call this figure the cinéaste. [less ▲]

Detailed reference viewed: 85 (15 ULg)
Full Text
Peer Reviewed
See detailUn théâtre sans acteurs: l'enlèvement de Hanns Martin Schleyer par la Fraction Armée Rouge
Hamers, Jérémy ULg

in Cahier Louis-Lumière (2009), 6(printemps), 53-67

On the 5th of September 1977, Hanns Martin Schleyer, head of the German Confederation of Employer’s Associations and former SS member was kidnapped by the Red Army Fraction. This kidnapping was the point ... [more ▼]

On the 5th of September 1977, Hanns Martin Schleyer, head of the German Confederation of Employer’s Associations and former SS member was kidnapped by the Red Army Fraction. This kidnapping was the point of departure for what is usually referred to as the "German Autumn". Since 1977, this important episode in German contemporary history has become the main subject of many audiovisual treatments that attest to the progressive reduction and transformation of an event into some rare symbolic images. This article intends to reflect on the role played by one of these images: a photograph of the kidnapping scene of Hanns Martin Schleyer. This is a striking picture since no dead body is shown, emphasizing that this episode was a (non)event that the media can only document after the fact. Animated by a « dynamic of visual frustration », this image has activated a vast system of semantic filling and reinvestment in which the news, documentary cinema, video art, and the representations produced by the terrorists have become inextricably entangled. [less ▲]

Detailed reference viewed: 124 (14 ULg)
Full Text
Peer Reviewed
See detailVideogramme einer Revolution: Le dispositif farockien retourné
Hamers, Jérémy ULg

in Cahier Louis-Lumière (2007), 4(printemps), 118-125

Detailed reference viewed: 19 (2 ULg)