Noel Burch – författare

Noel Burch's singularly perceptive view of film and its origins will interest all who care about film theory and history. "Life to Those Shadows" presents a critique of 'classical' approaches to film: the assumptions that what we call the language of film was a natural, organic development, and that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being. The view that film language was a universal, neutral medium, innocent of any social or historical meaning in itself, is also challenged here. Burch's major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed - in the capitalist and imperialist West between 1892 and 1929. From this perspective, the book examines the emergence of what it defines as cinema's Institutional Mode of Representation and the sociohistorical circumstances in which it took place.Central to the Institutional Mode are the principles of visualization - camera placement and movement, lighting, editing, mise-en-scene - that filmmakers and audiences came to internalize over the first three decades. Special emphasis is laid on the all-important change that occurred in the placing of the spectator, from a position of exteriority to the film image - implicit in both film-form and viewing conditions during the primitive era (pre-1909) - to the imaginary centering of the spectator-subject - completed only with the generalization of lip-synch sound after 1929. Burch contends that this imaginary centering of a sensorially isolated spectator is the keystone of the cinematic illusion of reality, still achieved today by the same means as it was sixty years ago.

In The Battle of the Sexes in French Cinema, 1930–1956, NoËl Burch and GeneviÈve Sellier adopt a sociocultural approach to films made in France before, during, and after World War II, paying particular attention to the Occupation years (1940–44). The authors contend that the films produced from the 1930s until 1956-when the state began to subsidize the movie industry, facilitating the emergence of an "auteur cinema"-are important, both as historical texts and as sources of entertainment.Citing more than 300 films and providing many in-depth interpretations, Burch and Sellier argue that films made in France between 1930 and 1956 created a national imaginary that equated masculinity with French identity. They track the changing representations of masculinity, explaining how the strong patriarch who saved fallen or troubled women from themselves in prewar films gave way to the impotent, unworthy, or incapable father figure of the Occupation. After the Liberation, the patriarch reemerged as protector and provider alongside assertive women who figured as threats not only to themselves but to society as a whole.

In The Battle of the Sexes in French Cinema, 1930–1956, Noël Burch and Geneviève Sellier adopt a sociocultural approach to films made in France before, during, and after World War II, paying particular attention to the Occupation years (1940–44). The authors contend that the films produced from the 1930s until 1956—when the state began to subsidize the movie industry, facilitating the emergence of an "auteur cinema"—are important, both as historical texts and as sources of entertainment.

Citing more than 300 films and providing many in-depth interpretations, Burch and Sellier argue that films made in France between 1930 and 1956 created a national imaginary that equated masculinity with French identity. They track the changing representations of masculinity, explaining how the strong patriarch who saved fallen or troubled women from themselves in prewar films gave way to the impotent, unworthy, or incapable father figure of the Occupation. After the Liberation, the patriarch reemerged as protector and provider alongside assertive women who figured as threats not only to themselves but to society as a whole.

Este libro argumenta en favor de un trabajo critico que haga hincapie, por un lado, en la Semiotica como Teoria general de la comunicacion y de la produccion / reproduccion socio-ideologica y, por el otro, en la Teoria de genero en cuanto Teoria del discurso, dimension critica indispensable para una comprension efectiva tanto de la subjetividad como del imaginario social. Desde este punto de vista y en el contexto de la interculturalidad como base de toda formacion cultural que resulta de la interaccion de poderes distintos e historicamente especificos, el estudio del cine es especialmente relevante para el analisis critico de los lenguajes no verbales (o no solo verbales) y de la comunicacion audiovisual. Por eso es importante llevar a cabo una reflexion critica sobre el cine que sea capaz de desentranar su dimension politica en cuanto elemento productivo (y no reproductivo, o mimetico) del imaginario socio-sexual de nuestra epoca.

Los textos reunidos en este volumen presentan una manera de "e;pensar el cine"e; en plena efervescencia de la reflexion sobre el poder de la imagen cinematografica (1970-1985). De tal forma que el lector entrara en contacto con las ideas con las que un teorico de la talla de Noel Burch afronta los grandes problemas que condicionan el acceso por parte del espectador a esos objetos que denominamos peliculas. Partiendo de un "e;formalismo"e; rapidamente enriquecido por una atencion maniatica al sentido de los films, combinando los acercamientos a cinematografias geograficamente lejanas con obras distantes en el tiempo, Burch dicta en "e;Itinerarios"e; una leccion que conserva toda su relevancia en nuestros dias. Nos ofrece un instrumental analitico para poder ejercer una critica sustantiva de las imagenes que han configurado el imaginario de tantas generaciones, siempre inspirado por una voluntad de "e;entender"e; mas alla de los topicos banales y las apariencias enganosas.