Benoit Turquety – författare

Daniele Huillet and Jean-Marie Straub collaborated on films together from the mid-1960s through the mid-2000s, making formally radical adaptations in several languages of major works of European literature by authors including Franz Kafka, Bertolt Brecht, Friedrich Holderlin, Pierre Corneille, Arnold Schoenberg, Cesare Pavese, and Elio Vittorini. The impact of their work comes in part from a search for radical objectivity, a theme present in certain underground currents of modernist art and theory in the writings of Benjamin and Adorno as well as in the Objectivist movement, a crucial group within American modernist poetry whose members included Louis Zukofsky, George Oppen, and Charles Reznikoff, with connections to William Carlos Williams and Ezra Pound. Through a detailed analysis of the films of Straub and Huillet, the works they adapted, and Objectivist poems and essays, Benoit Turquety locates common practices and explores a singular aesthetic approach where a work of art is conceived as an object, the artist an anonymous artisan, and where the force of politics and formal research attempt to reconcile with one another.

Daniele Huillet and Jean-Marie Straub collaborated on films together from the mid-1960s through the mid-2000s, making formally radical adaptations in several languages of major works of European literature by authors including Franz Kafka, Bertolt Brecht, Friedrich Holderlin, Pierre Corneille, Arnold Schoenberg, Cesare Pavese, and Elio Vittorini. The impact of their work comes in part from a search for radical objectivity, a theme present in certain underground currents of modernist art and theory in the writings of Benjamin and Adorno as well as in the Objectivist movement, a crucial group within American modernist poetry whose members included Louis Zukofsky, George Oppen, and Charles Reznikoff, with connections to William Carlos Williams and Ezra Pound. Through a detailed analysis of the films of Straub and Huillet, the works they adapted, and Objectivist poems and essays, Benoit Turquety locates common practices and explores a singular aesthetic approach where a work of art is conceived as an object, the artist an anonymous artisan, and where the force of politics and formal research attempt to reconcile with one another.

Danièle Huillet and Jean-Marie Straub collaborated on films together from the mid-1960s through the mid-2000s, making formally radical adaptations in several languages of major works of European literature by authors including Franz Kafka, Bertolt Brecht, Friedrich Hölderlin, Pierre Corneille, Arnold Schoenberg, Cesare Pavese, and Elio Vittorini. The impact of their work comes in part from a search for radical objectivity, a theme present in certain underground currents of modernist art and theory in the writings of Benjamin and Adorno as well as in the Objectivist movement, a crucial group within American modernist poetry whose members included Louis Zukofsky, George Oppen, and Charles Reznikoff, with connections to William Carlos Williams and Ezra Pound. Through a detailed analysis of the films of Straub and Huillet, the works they adapted, and Objectivist poems and essays, Benoît Turquety locates common practices and explores a singular aesthetic approach where a work of art is conceived as an object, the artist an anonymous artisan, and where the force of politics and formal research attempt to reconcile with one another.

With machines mediating most of our cultural practices, and innovations, obsolescence and revivals constantly transforming our relation with images and sounds, media feel more unstable than ever. But was there ever a 'stable' moment in media history? Inventing Cinema proposes to approach this question through an archaeology and epistemology of media machines. The archaeology analyses them as archives of users' gestures, as well as of modes of perception. The epistemology reconstructs the problems that the machines' designers and users have strived to solve, and the network of concepts they have elaborated to understand these problems. Drawing on the philosophy of technology and anthropology, Inventing Cinema argues that networks of gestures, problems, perception and concepts are inscribed in vision machines, from the camera obscura to the stereoscope, the Cinématographe, and digital cinema. The invention of cinema is ultimately seen as an ongoing process irreducible to a single moment in history.

Through a detailed analysis of the films of Straub and Huillet, the works they adapted, and Objectivist poems and essays, Benoît Turquety locates the impact of their work from a search for radical objectivity.