Description
Book SynopsisDanièle 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.
Table of ContentsINTRODUCTION
PART ONE: FOUNDATIONS
I. EROTIC BARBARITY: OTHON
1. A Play, A Film
2. Principles
3. Tradition and Opacity
II. OBJECTIVITY AND OBJECTIVITIES
1. Huillet and Straub-style 'Objectivity'
2. Objectivities
3. The Objectivists: A History
4. Objectivist Poetic Theory
PART TWO: LANGUAGE/AUTHORITY
III. THE POWER OF SPEECH (OR THE VOICE), OF SEEING AND THE PATH: MOSES AND AARON
1. Moses, Aaron, Schoenberg, Huillet & Straub
2. The Cinematic Form of (the Absence of) God: 'The Calling of Moses'
3. Language Remains
4. Birth of a Nation: Act II and End
5. Objective on Objective: Huillet and Straub's Position
IV. SPEECH AGAINST POWER, OR POETRY, LOVE, AND REVOLUTION: 'A'-9
1. A Poem, History
2. The Form of 'A'-9
3. Value and Meaning: Capitalism and Abstraction
4. Love as a Poetic/Revolutionary Technique
PART THREE: INTERRUPTIONS
V. CINEMA, POETRY, HISTORY: IMMOBILIZATIONS
1. Introduction to Arnold Schoenberg's 'Musical Accompaniment to a Cinematographic Scene': Motion and Pause, Cinema as History
2. From Ideogram to Fugue: Poetry/Cinema
3. Interruptions
4. Continuities
5. History Without a Name
6. Braiding, Cutting
PART FOUR: TRIALS, SERIES
VI. INDUSTRIAL CIVILIZATION FOR THE LAST TIME: CLASS RELATIONS
1. Trials
2. On Space
VII. ON DISSOLUTION
1. Speech Without Authority: The Death of Empedocles
2. On Dismantling: Testimony and Workers, Peasants
CONCLUSION
INDEX
