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Embodied Genetics in Science-Fiction, Big-Budget to Low-Budget: from Jeunet’s Alien: Resurrection (1997) to Piccinini’s Workshop (2011)

100%

Virginás A.

Acta Universitatis Sapientiae, Film and Media Studies

2014

vol. 8

issue 1

149-166

The article uses and revises to some extent Vivian Sobchack’s categorization of (basically) American science-fiction output as “optimistic big-budget,” “wondrous middle-ground” and “pessimistic low-budget” seen as such in relation to what Sobchack calls the “double view” of alien beings in filmic diegesis (Screening Space, 2001). The argument is advanced that based on how diegetic encounters are constructed between “genetically classical” human agents and beings only partially “genetically classical” and/or human (due to genetic diseases, mutations, splicing, and cloning), we may differentiate between various methods of visualization (nicknamed “the museum,” “the lookalike,” and “incest”) that are correlated to Sobchack’s mentioned categories, while also displaying changes in tone. Possibilities of revision appear thanks to the later timeframe (the late 1990s/2000s) and the different national-canonical belongings (American, Icelandic-German- Danish, Hungarian-German, Canadian-French-American, and Australian) that characterize filmic and artistic examples chosen for analysis as compared to Sobchack’s work in Screening Space.1

Agnès Varda amidst Images Sensuous Theory and Strategies of Resistance in Feminist Cinema

63%

Kwiatkowska P.

Władza sądzenia

2018

issue 14

56-72

Sensuous theory has enriched the way in which we now analyze the multisensory film image as well as the embodied experience of the film viewer. Questions about the corporeality and sensuousness of the director, however, are addressed much less frequently from this perspective. Yet it is precisely this aspect that strikes me as particularly interesting, as it allows us to revisit the issue of the creative strategies employed by women in the cinema, and to pose questions about the meaning and status of the sensuous involvement of the female director in the production of her film. Does her corporeality, her physiological and sensory experience affect how the character are created, how the world is depicted, or, more significantly, the very matter of the film image? Can this involvement also become a conscious tactic of resistance against the dominant narrative and visual structures of “male cinema”? Taking these questions as my point of departure, I focus on the film of Agnès Varda The Beaches of Agnès (Les plages d’Agnès, 2008), which may be regarded as a statement that is just as personal and self-referential as it is possible to universalize. Varda uses the film as a way to examine her own life and art in the context of the history of cinema in the latter half of the 20th century, paying particular attention to the French New Wave, auteur cinema, independent film, and politically and socially engaged cinema. In The Beaches of Agnès Varda reiterates questions about her own status as a female director, accentuating the corporeal, sensuous, and affective connections with the film image, filmed objects, people, and places, the film crew, and, ultimately, the cinema as such.

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1 Acta Universitatis Sapientiae, Film and Media Studies

1 Władza sądzenia

1 Kwiatkowska P.

1 Virginás A.

1 2018

1 2014

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Embodied Genetics in Science-Fiction, Big-Budget to Low-Budget: from Jeunet’s Alien: Resurrection (1997) to Piccinini’s Workshop (2011)

Agnès Varda amidst Images Sensuous Theory and Strategies of Resistance in Feminist Cinema