Podmiot, czas, swiatlo. Gaspara Noé eksperymenty z realizmem we Wkraczając w pustkę
SUBJECT, TIME, LIGHT. GASPAR NOÉ’S EXPERIMENTS WITH REALISM IN ENTER THE VOID
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The article deals with Gaspar Noé’s Enter the Void (2009). The author analyses different ways of presenting reality that Noé employs in his work in relation to various concepts of extending realism. Michnik compares Enter the Void with 19thcentury French paintings and various trends in cinematography and visual arts of the 1960s: structural film, Stanley Kubrick’s 2001: A space odyssey, op-art, Andy Warhol’s multimedia experiments, and objects by Dan Flavin and Bruce Nauman. Basing his argument on the work and thoughts of Michael Fried and Robert Smithson, Michnik considers various models of vision employed by the director and the relation of his film to the concept of time. He also analyses Noé’s use of the Tibetan Book of the Dead. He uses the concepts of Hal Foster’s “traumatic realism”, Fredric Jameson’s „magic realism” and Luis Felipe Noé’s, Gaspar Noé’s eminent father, “subjective realism”.
Noé Gaspar Kubrick Stanley Warhol Andy Flavin Dan Nauman Bruce Fried Michael Smithson Robert Foster Hal Jameson Fredric Noé Luis Felipe Enter the Void (2009) 2001 A space odyssey Tibetan Book of the Dead reality realism 19th century French paintings cinematography and visual arts of the 1960s structural film op-art multimedia experiments traumatic realism magic realism
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